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

20th Century & Contemporary Art & Design Day Sale Hong Kong, 26 May 2019 二十世紀及當代藝術和設計日間拍賣

136. Finn Juhl 芬．祖爾

193. Paolo Bufa 保羅．布法

138. Chu Teh-Chun 朱德群

129. KAWS

130. Tomoo Gokita 五木田智央 131. Tomoo Gokita 五木田智央

107. Eddie Martinez 艾迪．瑪汀尼茲

20th Century & Contemporary Art & Design Day Sale 20th Century & Contemporary Art Department

Design Department

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

International Specialist Marcus McDonald +44 20 7318 4095 mmcdonald@phillips.com

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

Senior Specialist Sofa Sayn-Wittgenstein +44 20 7318 4023 ssayn-wittgenstein@phillips.com

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

Senior Cataloguer Nicola Krohman nkrohman@phillips.com

Delissa Putri Handoko +852 2318 2013 dhandoko@phillips.com

Hong Kong, 26 May 2019, 10am

Cataloguer Caroline Pedote cpedote@phillips.com

設計部門

拍賣部門

Sofa Sayn-Wittgenstein +44 20 7318 4023 ssayn-wittgenstein@phillips.com

日間拍賣主管 雪鸞 +852 2318 2026 craybaud@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

Auction & Viewing Location JW Marriott Hotel Hong Kong 88 Queensway, Admiralty, Hong Kong

Auction Sunday, 26 May 2019, 10am (Lots 1 – 204)

Viewing 23 May – 25 May Thursday – Friday 10am–6pm Saturday 10am–7pm

Sale Designation

Administrator Marian Ang +852 2318 2024 marianang@phillips.com

部門主管 杜依舜 +852 2318 2011 idevielcastel@phillips.com

二十世紀及當代藝術和設計日間拍賣

專家 Marcus McDonald +44 20 7318 4095 mmcdonald@phillips.com

高級圖錄編輯 Nicola Krohman nkrohman@phillips.com 圖錄編輯 Caroline Pedote cpedote@phillips.com

When sending in written bids or making enquiries please refer to this sale as HK010219 or 20th Century & Contemporary Art & Design Day Sale.

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

拍賣及預展 香港JW萬豪酒店 金鐘道88號 拍賣 2019年5月26日，上午10時 (拍品編號 101–204) 預展 2019年5月23日 上午10時 – 下午 6 時 2019年5月24日 上午10時 – 下午 6 時 2019年5月25日 上午10時 – 晚上 7 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 HK010219 或 拍賣名稱 二十世紀及當代藝術和設計日間拍賣。 委托競投及電話競投 電話+852 2318 2029 傳真+852 2318 2010 bidshongkong@phillips.com

192. Max Ingrand 馬克斯．英格蘭

Our Team.

20th Century & Contemporary Art Hong Kong.

Isaure de Viel Castel

Charlotte Raybaud

Danielle So

Delissa Putri Handoko

Head of Department

Head of Day Sale

Cataloguer

Cataloguer

+852 2318 2011 isauredevielcastel @phillips.com

+852 2318 2026 craybaud@phillips.com

+852 2318 2027 dso@phillips.com

+852 2318 2013 dhandoko@phillips.com

Marcus McDonald

Sofa Sayn-Wittgenstein

Nicola Krohman

Caroline Pedote

International Specialist

Senior Specialist

Senior Cataloguer

Cataloguer

+44 20 7318 4095 mmcdonald@phillips.com

+44 20 7318 4023 ssayn-wittgenstein@ phillips.com

+44 20 7901 7926 nkrohman@phillips.com

+44 20 7901 4096 cpedote@phillips.com

Design

Executives.

Edward Dolman

Cheyenne Westphal

Chief Executive Ofcer

Global Chairwoman

+1 212 940 1241 edolman@phillips.com

+44 20 7318 4044 cwestphal@phillips.com

Š Brigitte Lacombe

20th Century & Contemporary Art. Jean-Paul Engelen

Robert Manley

Worldwide Co-Head of 20th Century & Contemporary Art, Deputy Chairman

Worldwide Co-Head of 20th Century & Contemporary Art, Deputy Chairman

+1 212 940 1390 jpengelen@phillips.com

+1 212 940 1358 rmanley@phillips.com

Senior Advisors.

David Norman

Hugues Jofre

Arnold Lehman

Ken Yeh

Chairman, Americas

Senior Advisor to the CEO

Senior Advisor to the CEO

+1 212 940 1280 dnorman@phillips.com

+44 207 901 7923 hjofre@phillips.com

+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

Deputy Chairman, Asia, Head of 20th Century & Contemporary Art, Asia

Deputy Chairman, Europe, Senior International Specialist, 20th Century & Contemporary Art

Deputy Chairman, Head of Private Sales

Deputy Chairman, Europe, Worldwide Head of Design

+44 20 7901 7943 mheiden@phillips.com

+44 20 7318 4052 apayne@phillips.com

Deputy Chairman, Americas, Worldwide Head of Photographs

Deputy Chairman, Americas, Head of Business Development, Americas

+1 212 940 1243 vhallett@phillips.com

+1 212 940 1392 vpfeifer@phillips.com

Deputy Chairman, Europe Senior Specialist, 20th Century & Contemporary Art

+44 20 7318 4010 smarich@phillips.com

+852 2318 2023 jcrockett@phillips.com

+44 20 7318 4063 psumner@phillips.com

+32 3257 3026 mhoet@phillips.com

128. KAWS

20th Century & Contemporary Art. New York.

Scott Nussbaum

Rachel Adler Rosan

Kevie Yang

Takako Nagasawa

Amanda Lo Iacono

John McCord

Rebekah Bowling

Sam Mansour

Head of Department

Senior Specialist

Senior Specialist

International Specialist

Head of Evening Sale

Head of Day Sale, Morning

Head of Day Sale, Afernoon

Head of New Now Sale

+1 212 940 1354 snussbaum@phillips.com

+1 212 940 1333 radlerrosan@phillips.com

+1 212 940 1254 kyang@phillips.com

+1 212 940 1353 tnagasawa@phillips.com

+1 212 940 1278 aloiacono@phillips.com

+1 212 940 1261 jmccord@phillips.com

+1 212 940 1250 rbowling@phillips.com

+1 212 940 1219 smansour@phillips.com

Katherine Lukacher

Jeannette van Campenhout

Patrizia Koenig

Annie Dolan

Carolyn Mayer

Maiya Aiba

Avery Semjen

Martin Fox

Associate Specialist

Cataloguer

Cataloguer

Cataloguer

Cataloguer

Researcher/Writer

+1 212 940 1279 pkoenig@phillips.com

+1 212 940 1288 adolan@phillips.com

+1 212 940 1206 cmayer@phillips.com

+1 212 940 1387 maiba@phillips.com

+1 212 940 1207 asemjen@phillips.com

+1 212 940 1312 mfox@phillips.com

Matt Langton

Henry Highley

Rosanna WidĂŠn

Tamila Kerimova

Kate Bryan

Simon Tovey

Senior Specialist

Senior Specialist

Head of Evening Sale

Head of Day Sale

Head of New Now Sale

+44 20 7318 4074 mlangton@phillips.com

+44 20 7318 4061 hhighley@phillips.com

+44 20 7318 4060 rwiden@phillips.com

+44 20 7318 4065 tkerimova@phillips.com

Head of Evening Sale, October

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

Specialist +1 212 940 1391 jvancampenhout@ phillips.com

London.

Dina Amin Senior International Specialist

Nathalie Zaquin-Boulakia International Specialist

+44 20 7318 4025 damin@phillips.com

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

Lisa Stevenson

Charlotte Gibbs

Louise Simpson

Clara Krzentowski

Cataloguer

Cataloguer

Cataloguer

Researcher/Writer

+44 20 7318 4093 lstevenson@phillips.com

+44 20 7901 7993 cgibbs@phillips.com

+44 20 7901 7911 lsimpson@phillips.com

+44 20 7318 4064 ckrzentowski@phillips.com

Business Development.

Americas.

Europe.

Vivian Pfeifer

Guy Vesey

Deputy Chairman, Americas, Head of Business Development, Americas

Head of Business Development & Marketing, Europe

+1 212 940 1392 vpfeifer@phillips.com

+44 20 7901 7934 gvesey@phillips.com

Client Advisory.

Asia.

Americas.

Jasmine Yan

Iori Endo

Philae Knight

Jennifer Jones

Liz Grimm

Client Advisory Director

Client Advisory Manager

Client Advisory Director

+852 2318 2015 jasmineyan@phillips.com

+44 20 7318 4039 iendo@phillips.com

+1 212 940 1313 pknight@phillips.com

Director of Trusts, Estates & Valuations

Business Development Associate

+1 212 940 1272 jjones@phillips.com

+1 212 940 1342 egrimm@phillips.com

Yassaman Ali

Vera Antoshenkova

Client Advisory Director

Client Advisory Manager

Giulia Campaner Mendes

+44 20 7318 4056 yali@phillips.com

+44 20 7901 7992 vantoshenkova@ phillips.com

Europe.

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

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

+44 20 7318 4050 kbryan@phillips.com

+44 20 7318 4084 stovey@phillips.com

International Specialists & Regional Directors.

Asia.

Kyoko Hattori

Jane Yoon

Sujeong Shin

Wenjia Zhang

Alicia Zhang

Cindy Yen

Regional Director, Japan

International Specialist, 20th Century & Contemporary Art, Regional Director, Korea

Associate Regional Representative, Korea

Regional Director, Shanghai

Associate Regional Representative, Shanghai

General Manager, Taiwan

+82 10 7305 0797 sshin@phillips.com

+86 13911651725 wenjiazhang@phillips.com

+86 139 1828 6589 aliciazhang@phillips.com

+886 2 2758 5505 cyen@phillips.com

+81 90 2245 6678 khattori@phillips.com

+82 10 7389 7714 jyy@phillips.com

Meiling Lee

Christine Fernando

Sandy Ma

International Specialist, Taiwan

Associate Regional Representative, Singapore

International Specialist, South East Asia

+886 908 876 669 mlee@phillips.com

+65 9128 6277 christinefernando @phillips.com

+852 2318 2025 sma@phillips.com

Cândida SodrÊ

Carol Ehlers

Lauren Peterson

Melyora de Koning

Blake Koh

Valentina Garcia

Regional Director, Consultant, Brazil

Regional Director, Specialist, Photographs, Chicago

Regional Representative, Chicago

Senior Specialist, 20th Century & Contemporary Art, Denver

Regional Director, Los Angeles

Specialist, Miami

Americas.

+55 21 999 817 442 csodre@phillips.com

+1 773 230 9192 cehlers@phillips.com

+1 310 922 2841 lauren.peterson @phillips.com

Cecilia Lafan

Maura Smith

Silvia Coxe Waltner

Regional Director, Consultant, Mexico

Regional Director, Palm Beach

Regional Director, Seattle

+52 1 55 5413 9468 clafan@phillips.com

+1 508 642 2579 maurasmith@phillips.com

+1 206 604 6695 scwaltner@phillips.com

Laurence Calmels

Clara Rivollet

Maria Cifuentes

Laurence Barret-Cavy

Regional Director, France

International Specialist, 20th Century & Contemporary Art, France

Specialist, 20th Century & Contemporary Art, France

Specialist, 20th Century & Contemporary Art, France

+33 142 78 67 77 mcifuentes@phillips.com

+33 633 12 32 04 lbarret-cavy@phillips.com

+1 917 657 7193 mdekoning@phillips.com

+1 323 383 3266 bkoh@phillips.com

+1 917 583 4983 vgarcia@phillips.com

Europe.

+33 686 408 515 lcalmels@phillips.com

+33 6 42 09 97 39 crivollet@phillips.com

Carolina Lanfranchi

Maura Marvao

Kalista Fenina

Regional Director, Senior International Specialist, 20th Century & Contemporary Art, Italy

International Specialist, Consultant, 20th Century & Contemporary Art, Portugal and Spain

Specialist, 20th Century & Contemporary Art, Moscow

+39 338 924 1720 clanfranchi@phillips.com

+351 917 564 427 mmarvao@phillips.com

+7 905 741 15 15 kfenina@phillips.com

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

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

101. Eddie Martinez

b. 1977

Untitled signed with the artist’s initials and dated ‘EM. 12’ lower right oil, enamel and spray paint on canvas 91.4 x 76.2 cm. (35 7/8 x 30 in.)

Executed in 2012.

Provenance Acquired directly from the artist by the present owner in 2012

HK$ 150,000-200,000 US$ 19,200-25,600

艾迪．瑪汀尼茲 《無題》 油畫 瓷漆 噴漆 畫布 2012年作 款識：EM.12 (右下) 來源 現藏者於2012年直接購自藝術家本人

102. Sterling Ruby

b. 1972

Vampire 14 fabric with fbre fll 218 x 94 x 15 cm. (85 7/8 x 37 x 5 7/8 in.)

Executed in 2011.

Provenance Pace Gallery, New York Private Collection Sotheby’s, London, 2 July 2015, Lot 319 Acquired at the above sale by the present owner

斯特林．魯比 《吸血鬼 14》 布料 埴充纖維 2011年作 來源 紐約，佩斯畫廊 私人收藏 倫敦，蘇富比，2015年7月2日，拍品編號319 現藏者購自上述拍賣

HK$ 180,000-220,000 US$ 23,100-28,200

(i)

(ii)

103. Mr.

b. 1969

Two works: (i) Wheat Tea 1ℓ; (ii) I have many of them acrylic on canvas each 18 x 14 cm. (7 1/8 x 5 1/ 2 in.)

Painted in 2000.

Provenance Hiropon Factory, Saitama (Currently known as Kaikai KiKi Co.) Acquired from the above by the present owner Exhibited (i) Los Angeles, The Museum of Contemporary Art; Minneapolis, Walker Art Center; Seattle, Henry Art Gallery, Superfat: An Exhibition of Provocative Contemporary Japanese Art, 14 January 2001 – 3 March 2002, n.p. (illustrated)

HK$ 180,000-280,000 US$ 23,100-35,900

Mr. 兩件作品: (i)《麥茶 1公升》; (ii)《那些我有很多》 壓克力 畫布 2000年作 來源 埼玉縣，Hiropon 工廠 (目前稱為 KaiKai KiKi Co.) 現藏者購自上述來源 展覽 (i) 洛杉磯，當代藝術博物館；明尼亞波利斯，沃克藝術中心； 西雅圖，亨利美術展覽館； 〈超扁平：挑釁性當代日本藝術展〉， 2001年1月14日-2002年3月3日，無頁數 (圖版)

104. Ayako Rokkaku

b. 1982

Untitled signed and dated ‘2011 Ayako Rokkaku’ lower right acrylic on cardboard 52 x 64 cm. (20 1/ 2 x 25 1/4 in.)

Executed in 2011.

Provenance Gallery Delaive, Amsterdam Acquired from the above by the present owner

HK$ 120,000-180,000 US$ 15,400-23,100

六角彩子 《無題》 壓克力 紙板 2011年作 款識：2011 Ayako Rokkaku (右下) 來源 阿姆斯特丹，Delaive 畫廊 現藏者購自上述來源

105. Ayako Rokkaku

b. 1982

ARP 10-023 signed, titled and dated, ‘2010 Ayako Rokkaku “ARP 10-023”’ on the reverse acrylic on canvas 90 x 60.3 cm. (35 3/8 x 23 3/4 in.)

Executed in 2010.

Provenance Gallery Delaive, Amsterdam Acquired from the above by the present owner

六角彩子 《ARP 10-023》 壓克力 畫布 2010年作 款識：2010 Ayako Rokkaku《ARP 10-023》(畫背) 來源 阿姆斯特丹，Delaive 畫廊 現藏者購自上述來源

HK$ 250,000-350,000 US$ 32,100-44,900

106. Takashi Murakami

b. 1962

Platinum Skulls signed and dated ‘TAKASHI 2016’ on the overlap platinum leaf on canvas mounted on aluminium frame 199.5 x 153.5 cm. (78 1/ 2 x 60 3/8 in.)

Executed in 2016.

Provenance Galerie Perrotin, Hong Kong Acquired from the above by the present owner

村上隆 《白金顱骨》 白金箔 畫布 裱於鋁畫框 2016年作 款識：TAKASHI 2016 (畫布邊緣) 來源 香港，貝浩登畫廊 現藏者購自上述來源

HK$ 1,400,000-1,800,000 US$ 179,000-231,000

‘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.’ © 2016 Takashi Murakami/Kaikai Kiki Co. Ltd. All Rights Reserved.

Takashi Murakami

107. Eddie Martinez

b. 1977

Untitled signed with the artist’s initials and dated ‘EM.16’ lower lef oil paint, enamel, and spray paint on canvas 76.5 x 101.5 cm. (30 1/8 x 39 7/8 in.)

Executed in 2016.

Provenance Timothy Taylor Gallery, London Private Collection, USA Acquired from the above by the present owner

艾迪．瑪汀尼茲 《無題》 油畫 瓷漆 噴漆 畫布 2016年作 款識：EM.16 (左下) 來源 倫敦，Timothy Taylor 畫廊 美國私人收藏 現藏者購自上述來源

HK$ 280,000-380,000 US$ 35,900-48,700

108. Izumi Kato

b. 1969

Untitled signed and dated ‘2009 KATO [in English and Kanji]’ on the reverse oil on canvas 53.1 x 45.6 cm. (20 7/8 x 17 7/8 in.)

Painted in 2009.

Provenance Arataniurano Gallery, Tokyo Acquired from the above by the present owner

HK$ 40,000-60,000 US$ 5,100-7,700

加藤泉 《無題》 油畫 畫布 2009年作 款識: 2009 KATO 泉 (畫背) 來源 東京，Arataniurano 畫廊 現藏者購自上述來源

109. Izumi Kato

b. 1969

Untitled signed and dated ‘2004 KATO [in English and Kanji]’ on the reverse oil on canvas 145.5 x 110 cm. (57 1/4 x 43 1/4 in.)

Painted in 2004.

Provenance Private Collection, Tokyo Acquired from the above by the present owner Exhibited Berlin, Murata & Friends, Izumi Kato, 11 December 2004 - 8 January 2005 Stuttgart, 14-1 Galerie, Izumi KATO, Junya SATO, Yuken TERUYA, 19 March - 14 May 2005

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

加藤泉 《無題》 油畫 畫布 2004年作 款識: 2004 KATO 泉 (畫背) 來源 東京私人收藏 現藏者購自上述來源 展覽 柏林，Murata & Friends 畫廊， 〈加藤泉〉， 2004年12月11日-2005年1月8日 斯圖加，14-1畫廊， 〈加藤泉、佐藤純也、照屋勇賢〉， 2005年3月19日-5月14日

110. Jonas Wood

b. 1977

Blue Pot coloured pencil and collage on paper 27.5 x 21.1 cm. (10 7/8 x 8 1/ 2 in.)

Executed in 2011.

Provenance Gagosian Gallery, Hong Kong Acquired from the above by the present owner Exhibited Hong Kong, Gagosian Gallery, “JONAS WOOD AND SHIO KUSAKA: Blackwelder”, 16 January – 28 February 2015

喬納斯．伍德 《藍色花盆》 彩色鉛筆 拼貼 紙本 2011年作 來源 香港，高古軒畫廊 現藏者購自上述來源 展覽 香港，高古軒畫廊， 〈喬納斯·伍德與日下翅央：布萊克韋爾德〉， 2015年1月16日-2月28日

© Jonas Wood

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

111. Yoshimoto Nara

b. 1959

Childhood Days signed ‘Nara’ on the reverse acrylic and colour pencil on cardboard 48.4 x 76 cm. (19 x 29 7/8 in.)

Executed in 2011, this work is accompanied by a certifcate of authenticity issued by Tomio Koyama Gallery.

Provenance Tomio Koyama Gallery, Tokyo Private Collection Acquired from the above by the present owner

奈良美智 《童年》 壓克力 彩色鉛筆 紙板 2011年作，此作品附小山登美夫畫廊所發之保證書。 款識：Nara (畫背) 來源 東京，小山登美夫畫廊 私人收藏 現藏者購自上述來源

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

‘People say [I] have a big infuence from Japanese animation. No, I have a big infuence from my childhood.’

© Yoshitomo Nara

Yoshitomo Nara

112. Yoshitomo Nara

b. 1959

Acid Rain signed, titled and dated ‘“Acid Rain [in Kanji]” Nara [in Japanese] ‘96’ lower right felt tip pen and coloured crayon on paper 29.7 x 21 cm. (11 3/4 x 8 1/4 in.)

Executed in 1996.

Provenance Private Collection SBI Art Auction, Tokyo, 24 October 2015, Lot 311 Acquired at the above sale by the present owner

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

© Yoshitomo Nara

奈良美智 《酸性雨》 簽字筆 彩色蠟筆 紙本 1996年作 款識： 《酸性雨》奈良（日文） ’ 96 (右下) 來源 私人收藏 東京，SBI藝術拍賣株式會社，2015年10月24日，拍品編號311 現藏者購自上述拍賣

113. Yoshimoto Nara

b. 1959

Untitled signed and dated ‘Nara [in Japanese] ’97’ lower right acrylic on paper 50.2 x 36.2 cm. (19 3/4 x 14 1/4 in.)

Executed in 1997.

Provenance Tomio Koyama Gallery, Tokyo Private Collection Acquired from the above by the current owner Literature Noriko Miyamura and Shinko Suzuki, eds., Yoshitomo Nara: The Complete Works, Volume 2: Works on Paper 1984-2010, Tokyo, 2011, no. D-1997-016, p. 103 (illustrated)

奈良美智 《無題》 壓克力 紙本 1997年作 款識：奈良 (日文) ’ 97 (右下) 來源 東京，小山登美夫畫廊 私人收藏 現藏者購自上述來源 出版 宮村周子與鈴木真子編， 〈奈良美智作品全集，第2集：紙本 1984-2010〉 ， 東京，2011年，作品全集編號 D-1997-016，第103頁 (圖版)

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

© Yoshitomo Nara

People I’ve Known, People I’ve Loved Returning to Japan in 1973, depleted by the depression of a declining career in New York due to the changing political climate in America, Yayoi Kusama relocated to Tokyo and was forced to essentially reboot her career.

In stark contrast to her wild New York happenings and controversial phallic sculptures, this period of her life became a sombre refection on grief following the death of her partner and close friend, Joseph Cornell. It was during this time that Kusama began intensively creating collages, acting as a memento mori, examining the transient nature of life and inevitability of death. These refected her projected persona, a representation of her physical appearance and psyche at the time. Such dark collages may appear at odds with the rest of her body of work, yet like the present lots My Soul Goes to the Sky and Souls of the Earth that Inhabit the Galaxy, they ofer a glimpse into an important period in the artist’s life.

Kusama frst met Cornell in 1962 through an art dealer, and the two formed an unlikely bond, a passionate yet platonic relationship, one that lasted many years. Infatuated by her beauty, Cornell began showering her with endless letters and poetry, gifing her with his famously exclusive boxes flled with found objects, pages from old books, pictures of birds and butterfies and dime-store trinkets.

Carrying Cornell’s box flled with his own collage materials back to Japan, Kusama began assembling her collages using some of the materials he had lef her, as an intimate tribute to her dearest friend. Both works are at once poetic and quietly introspective, hinting at unreachable realms beyond their surfaces.

Exhibited at Kusama’s frst solo show since her return to Japan, Souls of the Earth that Inhabit the Galaxy ofers a particularly poignant image that recalls her longing for unbounded freedom; reminiscent of her relationship with Cornell while also incorporating subtle traces of her ubiquitous Infnity Net motif.

© YAYOI KUSAMA

Yayoi Kusama with Joseph Cornell in New York, 1970 © YAYOI KUSAMA

草間彌生與約瑟夫•康奈爾， 攝於1970年，紐約

曾經相識與相愛 的生命過客 草間彌生於1973年回歸日本，此前因美國政治份氛圍 轉變而令她在紐約的事業大受打擊，因此重返東京，被迫 重新開始她的藝術事業。與其在紐約大鳴大放的瘋狂古怪 行徑、創作備受爭議的陽具形雕塑時期全然不同，此階段 生活鬱鬱反思，是她的伴侶兼摯友約瑟夫·康奈爾 去世後所帶來的悲痛。草間彌生便是在這時開始拼貼 創作，如同對死亡的警告，審視生命的短暫與死亡的 必然性。這些都反映出她本身，既是她的外表，亦是她的 內心。如此陰暗的拼貼與藝術家其他作品看起來似乎 不相配，但就像本幅作品《我的靈魂飄上天空》與《生活 在銀河系中的地球靈魂》一般，它們都是藝術家各階段 生涯中各個重要時期的一種體現。 草間彌生於1962年透過一名藝術商認識了康奈爾， 兩人建立起一種不尋常的結合，既有激情，又是柏拉圖式 的關係，並持續了許多年。康奈爾為草間彌生的美貌 而癡迷，開始不斷為她寫信作詩，並送予她獨有的盒子， 裝著各種拾得物，有古舊書籍中的書頁，有鳥類和蝴蝶的 照片，有廉價商店裡的小玩意。帶著裝滿康奈爾自己的拼 貼材料的盒子回到日本，草間彌生開始用他留給自己 的物件組成新的拼貼作品，作為對她最親愛的朋友之親暱 致敬。兩幅作品既詩意滿滿，又靜謐內省，暗示表相背後 那無法觸及的境界。 《生活在銀河系中的地球靈魂》展覽於草間彌生回到日本後 的首次個展，呈現出她對無界自由嚮往的強烈想望，緬懷 了她與康奈爾的關係，也融入了一絲《無限網》無所不在 的圖案。

‘In December 1975 I held my frst solo show since my return to Japan, Message of Death from Hades, at the Nishimura Gallery in Tokyo.

It featured a large number of collages.’

Yayoi Kusama

Joseph Cornell collage work, Untitled, 1967 (Private Collection of Yayoi Kusama)

約瑟夫•康奈爾拼貼作品 《無題》 ，1967年作 (草間彌生私人收藏)

© YAYOI KUSAMA

© YAYOI KUSAMA

114. Yayoi Kusama

b. 1929

My Soul Goes to the Sky signed and dated ‘Yayoi Kusama 1975’ lower right; further signed, titled and dated ‘Yayoi Kusama [in English and Kanji] 1975 “My Soul Goes to the Sky [in Japanese]”’ on the reverse gouache, pastel and collage on paper 54 x 39.4 cm. (21 1/4 x 15 1/ 2 in.)

Executed in 1975, this work is accompanied by a registration card issued by the artist’s company.

Provenance Ota Fine Arts, Tokyo Peter Blum Gallery, New York (acquired from the above in 2000) Barbara Mathes Gallery, New York (acquired from the above in 2004) Castelli Gallery, New York Acquired from the above by the present owner Exhibited New York, Barbara Mathes Gallery, Yayoi Kusama: from Here to Infnity, 19 April - 8 June 2007 New York, James Goodman Gallery, Yayoi Kusama: Paintings, Sculptures and Works on Paper, 21 April - 5 June 2016.

HK$ 450,000-650,000 US$ 57,700-83,300

草間彌生 《我的靈魂飄上天空》 水粉 粉彩 拼貼 紙本 1975年作，並附藝術家公司之登記卡。 款識：Yayoi Kusama 1975 (右下); Yayoi Kusama 草間彌生 1975 《我的靈魂飄上天空 (日文)》(畫背) © YAYOI KUSAMA

來源 東京，大田秀則畫廊 紐約，Peter Blum 畫廊 (於2000年購自上述來源) 紐約，Barbara Mathes 畫廊 (於2004年購自上述來源) 紐約，Castelli 畫廊 現藏者購自上述來源 展覽 紐約，Barbara Mathes 畫廊， 〈草間彌生：由此到無限〉 ， 2007年4月19日 - 6月8日 紐約，James Goodman 畫廊， 〈草間彌生：油畫、雕塑、紙本作品〉，2016年4月21日 - 6月5日

© YAYOI KUSAMA

115. Yayoi Kusama

b. 1929

Souls of the Earth that Inhabit the Galaxy signed and dated ‘Yayoi Kusama 1975’ upper right; further signed, titled and dated ‘Yayoi Kusama 1975 “Souls of the Earth that Inhabit the Galaxy [in Japanese]”’ on the reverse collage, pastel, ink, cloth on paper 38 x 53 cm. (14 7/8 x 20 7/8 in.)

Executed in 1975, this work is accompanied by a registration card issued by the artist’s studio.

Provenance Nishimura Gallery, Tokyo Private Collection, Tokyo (acquired from the above in 1975) Thence by descent to the present owner Exhibited Tokyo, Nishimura Gallery, Yayoi Kusama: Message of death from Hades, 1-13 December 1975

HK$ 450,000-650,000 US$ 57,700-83,300

草間彌生 《生活在銀河系中的地球靈魂》 拼貼 粉彩 水墨 布料 紙本 1975年作，並附藝術家工作室之登記卡。 款識：Yayoi Kusama 1975 (右上); Yayoi Kusama 1975《生活在銀河系中的 地球靈魂 (日文)》(畫背) 來源 東京，西村畫廊 東京私人收藏 (於1975年購自上述來源) 現藏者繼承作品 展覽 東京，西村畫廊， 〈草間彌生: 來自冥界的死亡信息〉 ， 1975年12月1-13日

© YAYOI KUSAMA

Property from an Important European Collection

116. Yayoi Kusama

b. 1929

In the Water signed and dated ‘1980 Yayoi Kusama’ lower right; further signed, titled and dated ‘Yayoi Kusama “In the Water [in Japanese]” 1980’ on the reverse collage, pastel, ink on paper 65.5 x 51 cm. (25 3/8 x 20 1/8 in.)

Executed in 1980, this work is accompanied by a registration card issued by the artist’s studio.

Provenance Kumquat Gallery, Hong Kong Acquired from the above by the present owner

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

重要歐洲私人收藏

草間彌生 《在水中》 拼貼 粉彩 水墨 紙本 1980年作，並附藝術家工作室之登記卡。 款識：1980 Yayoi Kusama (右下); Yayoi Kusama《在水中(日文)》1980 (畫背) 來源 香港，Kumquat 畫廊 現藏者購自上述來源

© YAYOI KUSAMA

117. Yayoi Kusama

b. 1929

Untitled signed and dated ‘YAYOI KUSAMA 1983’ on the underside mixed media 8.9 x 8.9 x 10.2 cm. (3.5 x 3.5 x 4 in.)

Executed in 1983, this work is accompanied by a registration card issued by the artist’s company.

Provenance Gallery Halcyon Co., Ltd., Osaka Acquired from the above by the present owner

HK$ 280,000-380,000 US$ 35,900-48,700

草間彌生 《無題》 綜合媒材 1983年作，並附藝術家公司之登記卡。 款識：YAYOI KUSAMA 1983 (作品底部) 來源 大阪，Halcyon Co., Ltd. 畫廊 現藏者購自上述來源

118. Yayoi Kusama

b. 1929

Captive Doll signed, titled and dated ‘YAYOI KUSAMA 1988 “Captive Doll [in Japanese]”’ on the underside mixed media 36 x 22 x 28 cm. (14 1/8 x 8 5/8 x 11 in.)

Executed in 1988, this work is accompanied by a registration card issued by the artist’s studio.

Provenance Private Collection, Tokyo Mainichi Auction, Tokyo, 21 October 2017, Lot 221 Acquired at the above sale by the present owner

草間彌生 《被俘玩偶》 綜合媒材 1988年作，並附藝術家工作室之登記卡。 款識：YAYOI KUSAMA 1988《被俘玩偶 (日文)》 (作品底部) 來源 東京私人收藏 東京，東京本社拍賣行，2017年10月21日，拍品編號221 現藏者購自上述拍賣

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

《被俘玩偶》創作於1988年，當時正值草間彌生搬回祖國 日本將近二十年後的時光，是一件極為罕見並深具感性 價值的作品。此件作品由塑料及金屬材質所組成，粉紅色 顏料覆蓋了整體。籠中坐著一個戴帽的人偶，周圍繞著 看似鳥類、卻無以名狀的形體。草間彌生於七十年代 晚期自願住進精神病院， 《被俘玩偶》約是十多年後所 創作的。住院這個舉動，也促使她在藝術創作方式上產生 一些變化。為了適應新的生活環境，草間將新工作室設立在 醫院內，她因此重返以手製雕塑的創作方式，做出尺寸較小 的物件，或是爾後透過組合而成較大作品。這段期間，藝術 家常以親手縫製布料，並填充於其中，有些放置在盒中， 有些則像本件作品這般，透過與其他元素重組而成。此外， 盒子這樣的概念使用，像是此作中的鳥籠意象，即刻讓人 聯想起草間彌生過世的摯友約瑟夫·康奈爾，以其作為創作 靈感。因為她在七十年代末回到日本後，即曾創作過向 康奈爾致敬示意的作品。另外，草間的軟雕塑與《被俘 玩偶》中的人偶，也存在這饒富意趣的相互關係。她刻意將 玩偶形體作得很滿，以近乎生硬的姿態，被囚禁在冷酷的 籠中。這也許也不難解讀出草間在作品中的自我投射，微微 隱喻著她當下自覺所處在一個禁錮的新環境，但她卻令人 驚喜地了使用了充滿正面力量及代表新生意象的光鮮粉彩 色調，似乎也巧妙告示了草間彌生在此之後藝術生涯令人 雀躍、再攀高峰的發展。

© YAYOI KUSAMA

Captive Doll is an exceedingly rare and sentimental work from the year 1988, produced nearly two decades afer Yayoi Kusama returned to her native Japan.

Created in plastic and metal, and painted entirely in fuchsia, the present work features a seated, hatted doll surrounded by amorphous, bird-like shapes. Captive Doll was created more than a decade afer the artist’s voluntary hospitalisation upon returning to Japan in the late seventies: a move which precipitated a change in the artist’s approach to art creation. Adjusting to her new living quarters and setting up a new studio within the medical faculty, Kusama set to work, returning to sculpture making by hand, creating some small objects, others which could be combined to become largescale pieces. It was during this time that the artist produced stufed fabric works painstakingly sewn together by hand, some encased in boxes, and later moving on to works such as the present lot. The incorporation of boxes moreover-and in the present case a birdcage—immediately calls to mind Kusama drawing inspiration from her dear late friend Joseph Cornell, a person to whom she paid homage upon her return to Japan in the late seventies. It is also curious to note the interrelationship between Kusama’s sof sculptures and the doll featured in Captive Doll—a doll being a fgurine typically ‘stufed’, the artist has rendered hers deliberately rigid, encased in a cage. It is easy to draw a self-referential conclusion when approaching this piece: a thinly veiled symbol for the contained environment the artist newly found herself in perhaps, but more so a fervent jolt of positivity and new life as captured by the bright pastel hue of Captive Doll—a colour which undoubtedly matched the jubilant years leading to Kusama’s shot to stardom in the years to follow.

119. Yayoi Kusama

b. 1929

Pumpkin signed, titled and dated ‘YAYOI KUSAMA 1991 “Pumpkin [in Japanese]”’ on the reverse acrylic on canvas 22.7 x 15 cm (8 7/8 x 5 7/8 in.)

Executed in 1991, this work is accompanied by a registration card issued by the artist’s studio.

Provenance Private Collection, Asia Acquired from the above by the present owner

草間彌生 《南瓜》 壓克力 畫布 1991年作，並附藝術家工作室之登記卡。 款識: YAYOI KUSAMA 1991《南瓜》(日文) (畫背) 來源 亞洲私人收藏 現藏者購自上述來源

© YAYOI KUSAMA

HK$ 1,600,000-2,600,000 US$ 205,000-333,000

120. Takashi Murakami

b. 1962

Flower collaboration with MADSAKI signed and dated ‘TAKASHI 2017’ on the overlap acrylic on canvas mounted on aluminium frame 141 x 120 cm. (55 1/ 2 x 47 1/4 in.)

Executed in 2017.

Provenance Galerie Perrotin, Hong Kong Acquired from the above by the present owner

村上隆 《Flower collaboration with MADSAKI》 壓克力 畫布 裱於鋁畫框 2017年作 款識：TAKASHI 2017 (畫布邊緣) 來源 香港，貝浩登畫廊 現藏者購自上述來源

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

「雖然作品可能看起來還是有本質上的塗鴉模樣，但表面 滲透出 MADSAKI 特有的一種憂傷，這我很欣賞。」 （ 村上隆，錄於「今日存在，明日已消失」之前言， MADSAKI 於 Kaikai Kiki 畫廊之個展，2017年5月19日 至6月15日） 《Flower Collaboration with MADSAKI》作於2017年， 如一個千變萬化、令人目眩的窗口，讓人一窺藝術家 最為人所知的超級概念性圖像和高度格式化技巧，也捕捉 到一絲他與另一位日本藝術家 Madsaki 的持久友誼。 兩位藝術家的友誼是從 Instagram 開始的，非常符合 網路時代的當代作風，在社交媒體上互相關注了一段 時間後，最終 Madsaki 的「Wannabe 系列」馬蒂斯 （一個噴漆、笑臉版本的《舞蹈 II》）讓村上隆主動聯繫， 購買了這件作品。兩位藝術家在不同的文化背景成長， 第一次碰面時，村上隆曾說 Madsaki「過於親切、口無 遮攔」 （村上隆， 〈Madsaki: 今日存在，明日已消失〉， 《村上隆之言》，2017年，網路文章） 。當村上隆創造並發 展代表日本流行文化之大膽、鮮明、卡哇伊（可愛風）的 「超扁平」運動時，Madsaki正以一名日本移民的身份在 新澤西州近郊長大，加入了紐約的 Barnstormers 團體， 學習街頭藝術的點滴。而在村上隆自己的現代版本沃荷 工廠 Kaikai Kiki，他們成為了同事，村上隆稱，儘管他們 的文化有差異，但開始一起工作後，他「愛上了 Madsaki 藝術家的那部分」 （村上隆， 〈Madsaki: 今日存在，明日 已消失〉， 《村上隆之言》 ，2017年，網路文章）

‘Although the works may appear to have a generic grafti air to them, their surfaces exude MADSAKI’s peculiar brand of sorrow, which I appreciate.’

Takashi Murakami

© 2017 Takashi Murakami/Kaikai Kiki Co. Ltd. All Rights Reserved.

Flower Collaboration with MADSAKI, executed in 2017, provides a dazzling and kaleidoscopic window into the artist’s celebrated practice of hyper-conceptual iconographies and highly stylised techniques, and captures a glimpse of his enduring friendship with an artist also hailing from his home country, Madsaki. In true contemporary fashion, the friendship of these two artists began on Instagram. Having followed each other on social media, it was Madsaki’s ‘Wannabe series’ Matisse (a spray-painted, smiley-faced reworking of Dance II) that fnally led Murakami to reach out and purchase this piece. Brought up in diferent cultural backgrounds, Murakami found Madsaki to be “overly friendly and loud-mouthed” (Takashi Murakami, ‘Madsaki: Here Today, Gone Tommorw’ in A Message from Takashi Murakami, 2017, online) when they frst met in person.

While Murakami coined and developed the Superfat movement embodying the bold, bright and kawaii (cute) idiosyncrasies of Japanese pop culture, Madsaki grew up as a Japanese immigrant in suburban New Jersey, learning the ropes of street art as part of the NYC collective Barnstormers.

Yet now as colleagues at Kaikai Kiki, Murakami’s own modern day Warhol factory, Murakami claims that despite their cultural diferences, once they began to work together he fell “in love with [the] part of [Madsaki] that is an artist” (Takashi Murakami, ‘Madsaki: Here Today, Gone Tomorrow’ in A Message from Takashi Murakami, 2017, online.)

121. Takashi Murakami

b. 1962

Flower of Joy - Blackberry Madness signed and dated ‘Takashi 07’ on the overlap acrylic and platinum leaf on canvas laid on board diameter: 40 cm. (15 3/4 in.)

Executed in 2007.

Provenance Gagosian Gallery, New York Acquired from the above by the present owner

村上隆 《Flower of Joy - Blackberry Madness》 壓克力 白金箔 畫布 裱於木板 2007年作 款識：Takashi 07 (畫布邊緣) 來源 紐約，高古軒畫廊 現藏者購自上述來源

‘Once every two days, I would buy fowers for my lesson and make compositions for my students to work on.

At the beginning, to be frank, I didn’t like fowers, but as I continued teaching in the school, my feelings changed: their smell, their shape - It all made me feel almost physically sick, and at the same time I found them very ‘cute’.

Each one seemed to have its own feelings, its own personality...’

Takashi Murakami

© 2007 Takashi Murakami/Kaikai Kiki Co. Ltd. All Rights Reserved.

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

122. Jiro Takamatsu

1936 -1998

Shadow No.1456 signed, titled and dated ‘JIRO TAKAMATSU 1997 “No.1456”’ on the reverse acrylic on canvas 116.7 x 90.9 cm. (45 7/8 x 35 3/4 in.)

Painted in 1997.

Provenance Akira Ikeda Gallery, Tokyo Private Collection Acquired from the above by the present owner

高松次郎 《影子 1456號》 壓克力 畫布 1997年作 款識：JIRO TAKAMATSU 1997《No.1456》(畫背) 來源 東京，Akira Ikeda 畫廊 私人收藏 現藏者購自上述來源

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

As a key member of the Mono-Ha movement and founder of the legendary art collective, Hi Red Center, Jiro Takamatsu was perhaps the leader of Japanese avant-garde in the 20th century. Working in the fertile balances between Dada, Surrealism and Minimalism and across the disciplines of painting, sculpture and photography in an oeuvre spanning four decades, Takamatsu sought to break traditional boundaries between high art and quotidian objects – what the artist himself called ‘a descent into the everyday’ (nihijo-sei eno kako).

Takamatsu’s most celebrated works are his Shadow Paintings, a series begun in 1964 as a critical enquiry into the genesis of painting itself. Inspired by 19th century Japanese painting and woodcuts, the artist sought to investigate the formal underpinnings of the practice through the delicate rendering of human form as shadows. However such works also took on darker undertones, as they recall fgural imprints lef on the walls of Hiroshima upon its nuclear destruction in 1945. Shadow No. 1456 is a later piece from the series, yet undeniably powerful in its composition. While leaving enough ambiguity to allow the creation of one’s own imagined narrative, Shadow No. 1456 acts as a meta-visual experiment to engage regions of the mind and thus opening portals to the realms of memory, nostalgia and fantasy.

作為一位「物派」運動的重要成員和具傳奇色彩「Hi紅色 中心」藝術收藏的創建人, 也許，高松次郎才算得上是 20世紀日本前衛藝術的領軍人物。他熟稔地平衡達達 主義、超現實主義和極簡主義，同時跨界繪畫、雕塑和 攝影，在歷經四十載的藝術生涯期間，高松嘗試著去 突破純藝術與尋常物體之間的界限，這位藝術家稱之為 “真正的投入日常”。 高松最著名的作品是影子畫作。這是一組由1964年開始 的系列，以批判的態度來探索繪畫起源。其靈感來自 19世紀日本繪畫和木雕，藝術家試圖藉由人影與輪廓去 探索正規基礎的繪畫訓練。«影子 1456號» 是這個系列的 後期作品，不可否認，它的構圖鮮明有力。高松的畫作 浸盈其代表性藝術的標誌和諷喻，筆筆勾勒柔軟飄渺。 高松沒有點明作品的意涵，讓觀者自行想像敘事， «影子 1456號» 試圖將具體影像抽離，吸引各類思維 匯聚，從而開啟不同的記憶、眷戀和幻想。

123. Tomoo Gokita

b. 1969

Serenade for Missy signed, titled and dated ‘“Serenade for Missy” Tomoo Gokita ‘08’ on the reverse acrylic gouache on linen 101 x 74.9 cm. (39 3/4 x 29 1/ 2 in.)

Executed in 2008.

Provenance Taka Ishii Gallery, Tokyo Collection of Masamichi Katayama, Tokyo Phillips, New York, The Katayama Collection, 19 September 2017, Lot 13 Acquired at the above sale by the present owner Exhibited Tokyo Opera City Art Gallery, The Encyclopedia of Masamichi Katayama “Life is hard... Let’s go shopping.”, 8 April - 25 June 2017, no. 78, p. 83 (illustrated)

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

五木田智央 《淑女小夜曲》 壓克力 水粉 畫布 2008年作 款識： 《Serenade for Missy》Tomoo Gokita‘08 (畫背) 來源 東京，石井孝之畫廊 東京，片山正通收藏 紐約，富藝斯，片山正通收藏，2017年9月19日，拍品編號13 現藏者購自上述拍賣 展覽 東京歌劇院畫廊， 〈片山正通的百科全書《生命苦難...血拼去吧》〉 ， 2017年4月8日-6月25日，圖版編號78，第83頁 (圖版)

124. Tomoo Gokita

b. 1969

Where is the Love signed, titled and dated ‘“WHERE IS THE LOVE” Tomoo Gokita 2014’ on the reverse acrylic gouache on linen 80.3 x 64.7 cm. (31 5/8 x 25 1/ 2 in.)

Executed in 2014.

Provenance Mary Boone Gallery, New York Acquired from the above by the present owner

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

五木田智央 《愛在那裡》 壓克力 水粉 畫布 2014年作 款識： 《WHERE IS THE LOVE》Tomoo Gokita 2014 (畫背) 來源 紐約，Mary Boone 畫廊 現藏者購自上述來源

125. Tomoo Gokita

b. 1969

Jumpy Jitters signed, titled and dated ‘“Jumpy Jitters” Tomoo Gokita ‘08’ on the reverse acrylic gouache on linen 45.5 x 37.5 cm. (17 7/8 x 14 3/4 in.)

Executed in 2008.

Provenance Bill Brady Gallery, Miami Acquired from the above by the present owner

HK$ 280,000-380,000 US$ 35,900-48,700

五木田智央 《跳躍性神經過敏》 壓克力 水粉 畫布 2008年作 款識： 《Jumpy Jitters》Tomoo Gokita ’08 (畫背) 來源 邁阿密，Bill Brady 畫廊 現藏者購自上述來源

126. Tomoo Gokita

b. 1969

Pianist for All His Life signed and dated ‘Tomoo Gokita 2000’ on the reverse Conté crayon on paper 36.4 x 25.7 cm. (14 3/8 x 10 1/8 in.)

Executed in 2000.

Provenance Private Collection SBI Art Auction, Tokyo, 7 November 2015, lot 120 Private Collection, Asia Acquired from the above by the present owner Literature Tomoo Gokita, Lingerie Wrestling Tomoo Gokita, Tokyo, 2000, p. 134 (illustrated)

HK$ 50,000-70,000 US$ 6,400-9,000

五木田智央 《鋼琴家的一生》 康提蠟筆 紙本 2000年作 款識：Tomoo Gokita 2000 (畫背) 來源 私人收藏 東京，SBI藝術拍賣株式會社，2015年11月7日， 拍品編號120 亞洲私人收藏 現藏者購自上述來源 出版 五木田智央， 〈五木田智央的徘徊摔角〉 ， 東京，2000年，第134頁 (圖版)

127. KAWS

b. 1974

UNTITLED signed and dated ‘KAWS.. 02’ on the reverse acrylic and marker on skateboard 80 x 20.5 x 4 cm. (31 1/ 2 x 8 1/8 x 1 5/8 in.)

Executed in 2002.

Provenance Parco Gallery X, Tokyo Private Collection Artcurial, Paris, 19 November 2018, Lot 53 Acquired at the above sale by the present owner Exhibited Tokyo, Parco Gallery X, SK8 on the wall, 2003

KAWS 《無題》 壓克力 簽字筆 滑板 2002年作 款識：KAWS.. 02 (作品背面) 來源 東京，Parco 畫廊 X 私人收藏 巴黎，Artcurial，2018年11月19日，拍品編號53 現藏者購自上述拍賣 展覽 東京, Parco 畫廊 X,〈SK8 on the wall〉, 2003年 HK$ 300,000-500,000 US$ 38,500-64,100

128. KAWS

b. 1974

COMPANION signed, dated and numbered ‘KAWS..01 2/5’ on the underside bronze 20 x 10 x 5 cm. (7 7/8 x 3 7/8 x 1 7/8 in.)

Executed in 2001, this work is number 2 from an edition of 5.

Provenance Private Collection, Japan

KAWS 《同伴》 銅雕 2001年作，共有5版，此作為第2版。 款識：KAWS..01 2/5 (作品底部) 來源 日本私人收藏 HK$ 500,000-700,000 US$ 64,100-89,700

Rendered in a miniature scale and executed in 2001, the present lot is one of the frst versions of the artist’s trademark COMPANION fgures to be made in bronze afer the release of the COMPANION vinyl toy in 1999 that was created in collaboration with Japan’s Bounty Hunter. Afer graduating from the School of Visual Arts in New York in 1996, KAWS made a trip to Japan where he stumbled across streetwear contemporaries such as Nigo, Stash and Hiroshi Fujiwara, and began to look to vinyl toys as a source of inspiration. Featuring the signature ‘X-eyes’, the ears and head of a skull and positioning the fgure in a squat, KAWS still manages to convey toy-like plushness in his work despite its medium. A bold statement to the classical medium of sculpture, COMPANION confronts the viewer with a character that is arguably the most recognisable yet is imbued with a sense of the uncanny through the skull motif. At once saccharine and peculiar, KAWS challenges cultural boundaries, tapping into the nostalgia of universally cherished cartoon characters and injecting them with emotional undertones. A rare and early work among the artist’s body of sculptural works, and from an edition of only fve, COMPANION comprises the ultimate ‘prototype’ which has since attracted a cult of avid collectors that have followed KAWS from the streets into the major galleries and museum exhibitions worldwide.

本次上拍作品是2001年所創作的縮小尺寸版銅雕， 為藝術家最知名的「同伴」系列最早創作的幾個版本 之一，其原型「同伴」塑膠玩偶始於1999年與日本 Bounty Hunter 合作時推出。KAWS 於1996年從紐約的視覺藝術 學院畢業，隨後去了一趟日本，接觸到 Nigo、Stash 和藤 原浩等街頭潮流設計界的當代巨頭，並開始視塑膠玩偶 為靈感來源。玩偶有著 X 形眼睛，骷髏耳朵和腦袋，蹲伏 姿態，儘管媒材不同，KAWS 依然令它有如玩具般的長絨 毛感。他在談到自己的藝術時提到要抹去玩具和雕塑間的 界限， 「對我來說，它們有著相同的思想過程，所以如果 我做了一件大型的銅雕材質作品，就被稱為雕塑，做了 一件小的塑料作品就是玩具的話，其實很可笑。」 （KAWS， 錄於 Carlo McCormick， 〈從街頭到媒體至藝廊，KAWS 無所不在〉， 《Paper》，2013年11月4日，網路文章）作品 《同伴》對雕塑這種古典媒材來說就像是個大膽的宣言， 觀者面對極具認知度的角色，但它通過骷髏圖案蒙上了 一層不尋常的感覺。它既甜蜜又怪異，KAWS 挑戰著 文化界限，觸及普世人們懷念的卡通人物，為它們注入 內涵情感。此作是藝術家雕塑作品中少見的早期作品， 該版僅有五件。 《同伴》包含著終極的標準原型，吸引著 一群熱衷的收藏家，從街頭到重要畫廊和博物館展覽 都一直跟隨 KAWS 的腳步。

129. KAWS

b. 1974

BORN TO BEND signed, numbered and dated ‘KAWS.. 13 9/10’ on the underside painted bronze 41.9 x 27.3 x 15.2 cm. (16 1/ 2 x 10 3/4 x 5 7/8 in.)

Executed in 2013, this work is number 9 from an edition of 10.

Provenance Private Collection, New York Acquired from the above by the present owner Exhibited Philadelphia, Pennsylvania Academy of the Fine Arts, KAWS @ PAFA, 12 October 2013 - 5 January 2014 (another example exhibited)

KAWS 《天生彎曲》 塗漆 銅雕 2013年作，共有10版，此作為第9版。 款識：KAWS..13 9/10 (作品底部) 來源 紐約私人收藏 現藏者購自上述來源 展覽 費城，賓州美術學院， 〈KAWS @ PAFA〉 ， 2013年10月12日-2014年1月5日 (展品為他版作品)

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

Rendered in a sophisticated grey-scale palette, BORN TO BEND features the artist’s beloved and iconic “BENDY” character with its signature X eyes, the protruding crossbones as ears and squiggly tail wrapped around a stark silhouette of the quintessential American childhood icon “Gumby”.

BORN TO BEND perfectly demonstrates how KAWS re-contextualises the role of mass culture in art, based as it is on the BENDY character that initially took the form of small-scale fgurines starting in 2003. What began as toy versions radically expanded in the past decade to become diferent sized works of sculpture, deliberately aimed at dismantling the distinctions between high and low art.

As KAWS explained, speaking of his strategy of blurring the lines between toys and sculptures, “to me they involve the same thought process, so it’s funny that when I work in big bronze, it’s called a sculpture, but something I do that’s small and plastic is called a toy” (KAWS, quoted in Carlo McCormick, “From the Streets to TV to Fine Art Galleries, KAWS Is Everywhere”, Paper, 4 November 2013, online.)

One of the artist’s most recognisable fgures, another version of BORN TO BEND was a key highlight that adorned the main entrance of the historic landmark building of the Pennsylvania Academy of the Fine Arts (PAFA) in 2013 and was shown at the artist’s frst UK solo exhibition at Yorkshire Sculpture Park in 2016, as well as KAWS: WHERE THE END STARTS at the Modern Art Museum of Fort Worth the same year.

Expressing the unique duality that encapsulates the allure of KAWS’s work, BORN TO BEND stimulates a sense of nostalgia and delight.

「我一直在創作銅像作品，並以汽車烤漆方式塗成 不同顏色。這些媒材都是傳統的，屬於藝術史範疇。 」 （KAWS， 《採訪雜誌》 ，2010年4月27日，網路文章） 《天生彎曲》呈精緻的灰色調，是藝術家最喜愛也最具代表 性的「BENDY」角色，有著標誌性的 X 形眼睛，交叉骨頭 耳朵和彎曲的尾巴，圍著美國兒童經典角色「Gumby」的 僵直造型。 《天生彎曲》完好展現 KAWS 為大眾文化在藝術 中的重新定位，建基於自2003年起以小玩偶形式開始的 「BENDY」角色。一開始的玩具版本在過去十幾年間徹底 演進了，成為不同尺寸的雕塑作品，刻意除掉所謂高階 與低階藝術的區別。如 KAWS 所解釋，在他嘗試抹去 玩具與雕塑之間的界限時， 「對我來說，它們有著相同的思 想過程，所以如果我做了一件大型的銅雕作品，就被稱為 雕塑，做了一件小的塑料作品就是玩具的話，其實很 可笑。」 （KAWS，錄於 Carlo McCormick， 《Paper》， 2013年11月4日，網路文章）藝術家最具標誌性的創作 角色之一，也是《天生彎曲》的另一個版本，於2013年在 賓州藝術學院歷史性建築大門前作重點展覽，並於2016年 亮相於藝術家在約克郡雕塑公園舉辦的首個英國個展， 以及同年在沃斯堡現代美術館舉辦的「KAWS: 始於終點」 展覽。 《天生彎曲》展現出 KAWS 作品中最獨特迷人的雙重 性質，激發觀者的懷舊與欣喜之情。

‘I’ve been doing bronze sculptures where I auto-body-paint them diferent colours.

Those materials are traditional.

They are within the history of fne art.’

KAWS

130. Tomoo Gokita

b. 1969

A bathing beauty signed and numbered ‘Gokita 4/8’ on the underside bronze with black patina 28 x 22 x 7 cm. (11 x 8 5/8 x 2 3/4 in.)

Executed in 2015, this work is number 4 from an edition of 8 plus 4 artist’s proofs and is accompanied by a certifcate of authenticity issued by CASE STUDYO and original wood box.

Provenance CASE STUDYO Acquired from the above by the present owner Exhibited Tokyo, Marunouchi House, Tomoo Gokita: "Gokita House", 26 October - 15 November 2015 (another example exhibited)

HK$ 150,000-260,000 US$ 19,200-33,300

五木田智央 《沐浴美人》 黑色銅鏽 雕塑 2015年作，共有8版及4版藝術家試作版，此作為第4版， 並附CASE STUDYO所發之保證書及原裝木盒。 款識：Gokita 4/8 (作品底部) 來源 CASE STUDYO 現藏者購自上述來源 展覽 東京，Marunouchi House， 〈五木田智央： 「GOKITA HOUSE」〉 ， 2015年10月26日-11月15日 (展品為他版作品)

131. Tomoo Gokita

b. 1969

A bathing beauty signed and numbered ‘Gokita A.P. N/N’ on the underside bronze with white patina 28 x 22 x 7 cm. (11 x 8 5/8 x 2 3/4 in.)

Executed in 2015, this work is an artist’s proof from an edition of 8 plus 4 artist’s proofs and is accompanied by a certifcate of authenticity issued by CASE STUDYO and original wood box.

Provenance CASE STUDYO Acquired from the above by the present owner Exhibited Tokyo, Marunouchi House, Tomoo Gokita: "Gokita House", 26 October - 15 November 2015 (another example exhibited)

HK$ 150,000-260,000 US$ 19,200-33,300

五木田智央 《沐浴美人》 白色銅鏽 雕塑 2015年作，共有8版及4版藝術家試作版， 此作為藝術家試作版，並附CASE STUDYO 所發之保證書及原裝木盒。 款識：Gokita A.P. N/N (作品底部) 來源 CASE STUDYO 現藏者購自上述來源 展覽 東京，Marunouchi House， 〈五木田智央： 「GOKITA HOUSE」〉 ， 2015年10月26日-11月15日 (展品為他版作品)

132. Banksy

b. 1975

Ballerina CP/03 signed and numbered ‘BANKSY CP/03’ on the overlap spray paint on canvas 40.7 x 30.5 cm. (16 x 12 in.)

Executed in 2013, this work is accompanied by a certifcate of authenticity issued by Pest Control.

Provenance ‘Better Out Than In’, Central Park, New York Acquired from the above by the present owner in October 2013

班克斯 《芭蕾舞伶 CP/03》 噴漆 畫布 2013年作，並附 Pest Control 工作室之保證書。 款識：BANKSY CP/03 (畫布邊緣) 來源 紐約，中央公園， 〈Better Out Than In〉 現藏者於2013年安自上述來源

HK$ 3,000,000-4,000,000 US$ 385,000-513,000

The artistic quality in the present lot cannot be overlooked.

Banksy confronts and disrupts another icon in Ballerina CP/03, where he takes the silhouette of Princess Odette in one of the most prominent ballets composed by Pyotr Illyich Tchaikovsky, Swan Lake, and transforms the fgure into a caricature, all the while retaining the sinister underlying emotions of the character's inevitable demise. The grace and poise of the ballerina en pointe in an arabesque is at once contrasted with the potentially disquieting text “FRAGILE” overlaid on the canvas rendered in red. Banksy’s use of the instantly-recognisable features of Princess Odette as a visual theme demonstrates his laser-sharp sense of satire.

Using the story of Odette, a princess turned into a swan by an evil sorcerer’s curse and who is only able to break the spell by fnding eternal love, Banksy points to the sofness and delicacy of the character and implies that there is ofen more than what simply meets the eye. As part of the artist’s aesthetic vocabulary, he uses a stencil to create the fgure of the ballerina while evidently keeping his style and control through his use of the spray can, applying his grafti sensibilities on canvas.

Ballerina CP/03 is at once a work of art that not only exhibits Banksy’s clean aesthetic but also recalls a distinctly transformative public art form unprecedented by any other artist of our time, further consolidating his position as an iconic artist of the contemporary age.

班克斯是當代全球極富盛名的藝術家，慣以匿名方式， 創作出視覺大膽又充滿諷刺意味的作品。有著街頭塗鴉 藝術的背景，他將街頭藝術提昇至另一個更具廣泛影響力的 重要性指標，利用這個媒介，他把常被主流媒體忽略報導 的冷門政治及社會議題，帶到人們的眼前，引起關注。 藝術家在2013年進行了「Better Out Than In」駐村計畫， 這個為期一個月於紐約的展覽中，每天會推出一件作品， 《芭蕾舞伶 CP/03》即是他在中央公園設立一個攤位上， 所賣出其中一件具真跡簽名的畫作。 本件作品所呈現的藝術質感不容小覷，班克斯在此挑戰並 拆解了另一個偶像符號。他從彼得·伊利里奇·柴可夫斯基 最著名的芭蕾舞劇天鵝湖取材，將奧黛特公主的輪廓轉化成 一幅嘲諷畫，同時卻保留了這角色所不可避免的死亡陰影， 以及凶兆籠罩之下的潛在情緒。舞者標準呈現阿拉貝斯克 舞姿(單腳站立並將另隻腳水平抬起)的優雅而平衡之美， 與下方令人不安的「小心易碎」紅色字樣，立刻形成強烈 對比。班克斯使用了十分輕易辨識的奧黛莉公主形象作為 視覺主軸，突顯其鮮明的諷刺意識。公主受到邪惡巫師 詛咒，變成了天鵝，唯有找到永恆真愛，才能打破魔咒。 當班克斯借用了奧黛莉公主這個故事背景，他直指了這個 角色的柔軟及纖弱，也暗喻著真相往往超越了我們直觀所見 看似單純之表象。從藝術家獨特的美學語彙來分析，他沿用 了以模板來噴繪芭蕾舞者形象的個人風格，並以高度純熟的 技巧使用噴漆上色，將塗鴉特質詮釋在畫布上。 《芭蕾舞伶 CP/03》這件作品不僅展現班克斯簡潔的 美感，更再次揭露了一個沒有其他藝術家能及、如此具 變革性的公共藝術形態，因而也更確立了他在當代藝術具 指標性的地位。

Courtesy of Pest Control Ofce

One of the most successful and world-renowned artists of his generation, Banksy works under the veil of anonymity to create works of visual audacity and satiric potency. With a background in grafti, he elevated street art practices to widespread prominence, using the medium as a way of drawing attention to aspects of politics and society ofen lef unpublished in mainstream media. As part of the artist’s Better Out Than In residency in 2013, a month-long show that took place in New York City where Banksy unveiled at least one work of art daily, Ballerina CP/03 was one of the authentic signed canvases that sold at a stall in Central Park.

133. Takashi Murakami & Virgil Abloh

b. 1962 & b. 1980

“FLOWER” signed and dated ‘“VIRGIL” © 2018 Takashi 2018’ on the overlap acrylic on canvas mounted on aluminium frame 57.8 x 46 cm. (22 3/4 x 18 1/8 in.)

Executed in 2018.

Provenance Gagosian Gallery, London Private Collection, Europe Acquired from the above by the present owner

村上隆與維吉爾·阿伯拉赫 《 “FLOWER” 》 壓克力 畫布 裱於鋁畫框 2018年作 款識：“VIRGIL”© 2018 Takashi 2018 (畫布邊緣) 來源 倫敦，高古軒畫廊 歐洲私人收藏 現藏者購自上述來源

HK$ 480,000-580,000 US$ 61,500-74,400

‘Each [fower] seemed to have its own feelings, its own personality...I fnd them just as pretty, just as disturbing. At the same time there is the strength in them; it is the same image of strength I fnd when drawing the human face.’ © 2018 Takashi Murakami/Kaikai Kiki Co. Ltd. All Rights Reserved.

Takashi Murakami

134. George Condo

b. 1957

Two Works: (i) Jean Louis; (ii) Jean Louis’ Wife (i) signed, titled and dated ‘George Condo “JEAN LOUIS” 05’ on the reverse (ii) signed and titled ‘George Condo “JEAN LOUIS’ WIFE”’ on the reverse oil on canvas each 50.8 x 40.6 cm. (20 x 15 7/8 in.)

Painted in 2005.

Provenance Skarstedt Gallery, New York Private Collection Sotheby’s, New York, 29 September 2016, Lot 218 Acquired at the above sale by the present owner Exhibited (i) New York, New Museum; Rotterdam, Museum Boijmans Van Beuningen; London, Hayward Gallery; Frankfurt, Schirn Kunsthalle, George Condo: Mental States, 26 January 2011 - 28 May 2012, p. 90 (illustrated) (i) New York, Luhring Augustine Gallery, George Condo: Existential Portraits, 5 May - 3 June 2006, p. 19 (illustrated) (ii) New York, Luhring Augustine Gallery, George Condo: Existential Portraits, 5 May - 3 June 2006, p. 34 (illustrated)

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

喬治·康多 兩件作品: (i)《吉恩·路易斯》; (ii)《吉恩·路易斯夫人》 油畫 畫布 2005年作 (i) 款識：George Condo《JEAN LOUIS》05 (畫背) (ii) 款識：George Condo《JEAN LOUIS’WIFE》05 (畫背) 來源 紐約，Skarstedt 畫廊 私人收藏 紐約，蘇富比，2016年9月29日，拍品編號218 現藏者購自上述拍賣 展覽 (i) 紐約，新當代藝術博物館； 鹿特丹，博伊曼斯·范伯寧恩美術館；倫敦，海沃德美術館； 法蘭克福，席爾恩藝術館， 〈喬治·康多: 精神狀態〉 ， 2011年1月26日-5月28日，第90頁 (圖版) (i) 紐約，Luhring Augustine 畫廊， 〈喬治·康多: 存在的肖像〉 ， 2006年5月5日-6月3日，第19頁 (圖版) (ii) 紐約，Luhring Augustine 畫廊， 〈喬治·康多: 存在的肖像〉 ， 2006年5月5日-6月3日，第34頁(圖版)

(i)

(ii)

‘What is Jean Louis? Is he a waiter, a chef, a driver? Is he a real person?’

George Condo

The present lots hail from George Condo’s seminal early portraiture series, Existential Portraits, a small handful of works that the artist created which investigated the human psyche. Featuring fgures that ‘are questioning their existence’ (George Condo quoted in Ralph Rugof, ‘The Enigma of Jean Louis’, in George Condo: Existential Portraits, exh. cat., Luhring Augustine, New York, 2006, p.11), Condo draws from a wide repertoire of characters, creating a cast of unlikely protagonists who each come with individual prologues concocted by the artist himself.

Painting entirely from his imagination and art historical memory, Condo synthesises infuences ranging from Old Master painting to modern day photography, with a sensibility informed by popular culture, to construct his pieces. When investigating this particular series of works, the artist ofers Chuck Close’s self-portraits from the 1970s as possible points of departure—with their tightly framed compositions, they resemble photographic sources or efects, ofering the audience intimate glimpses into the personas depicted.

「到底吉恩·路易斯是誰？是服務生、廚師還是司機？他是真人嗎？」 — 喬治·康多 本次拍賣這幾件作品來自喬治·康多早期重要的《存在主義肖像》系列， 藝術家在這個作品數量不多的系列創作中，深刻探索人類心理。在著名 的《吉恩·路易斯之謎》一作裏，藝術家選用了「對於自我存在充滿質疑」 的角色入畫，從廣泛的人物中汲取靈感，創造出一群不可思議的角色， 並親自為每一位鋪陳了專屬的開場敘事。(摘錄自喬治·康多於羅夫· 魯格福「吉恩·路易斯之謎」一文， 《喬治·康多：存在主義肖像》展覽目錄， Luhring Augustine，紐約，2006年，第11頁) 康多的繪畫完全來自於個人想像力及其對藝術史的記憶，結合了上溯古典 大師、下至現代攝影等影響，此外，當代流行文化也是構建其作品的重要 元素之一。當康多創作此系列作品時，他以近乎查克·克羅斯七十年代 自畫像的形式作為出發點，透過緊密的構圖，提供了類似攝影的來源或 視覺效果，讓觀者從一個親密的角度，去切入觀察他筆下描繪的人物。

然而談到這兩件作品中吉恩·路易斯這個角色，藝術家曾述這個「想像 Speaking about the character Jean Louis in the present two lots, the artist 出來的管家」是即興捏造出來的人物(摘錄自喬治·康多於瑪琳納·卡許丹 describes the ‘imaginary butler’ as a spontaneously made-up character 《喬治·康多的精神狀態》) 。在藝術史上，肖像畫向來被視為直探靈魂的 (George Condo quoted in Marina Cashdan, ‘The Mental States of George 窗口這樣重要的意義。吉恩·路易斯、他的妻子及妻子的姐妹這三個人物， Condo’). Coupled with the long-regarded art historical signifcance of 每一個都乘載了重要的敘事。然而，他們之間發生故事所產生的交集， portraiture being a veritable window into the soul, the three characters— 對觀者來說卻是個謎。有趣的是，他取擷於查克·克羅斯照相寫真作品的 Jean Louis, his wife, and his wife’s sister—each carry their own underlying 靈感之同時，也與現代攝影中大頭照這樣的形式相互呼應，進而加深了 narratives, their interlinked stories a mystery to the audience. Curiously, 三者之間神秘關係可能帶著負面互動的影射。特別是《一隻耳朵的吉恩· the inspiration taken from Chuck Close’s photographic works also lends 路易斯》這個作品名稱，顯然讓人聯想到文森·梵谷的自殘，藝術家這個 itself to another form of present-day photography: mug shots, further 刻意的連結，也許隱喻作品中其實暗藏著更多詭譎的意味。 fuelling a somewhat clandestine understanding of the three characters’ possibly nefarious interrelationship. In particular, the title of Jean Louis 此外，從這兩位女性人物的描繪，觀者也顯明感受到康多對於誇張和扭曲 with One Ear all the more calls to mind Vincent Van Gogh’s self-mutilation, 的偏愛。 《吉恩·路易斯夫人》及《吉恩·路易斯夫人姐妹》畫中人物對觀者 a deliberate link perhaps that hints at more portentous undertones. 投以威脅的凝視，讓人緬想起威廉·德·庫寧畫中女人或是畢卡索1937年 名作《哥卡尼亞》中嘶吼的頭像。兩件作品中深沈的心理探視，體現了康多 Furthermore, the depiction of the two women demonstrates Condo’s 以肖像畫作為實踐「精神病立體主義」形式的絕佳範例。 penchant for exaggeration and distortion. Jean Louis’ Wife and Jean Louis’ Wife’s Sister feature two fgures whose physiognomy confronts us with 康多在創作這系列作品時，曾說過《存在主義肖像畫》 「與當今人們存在的 a threatening gaze, reminiscent of Willem de Kooning’s women or the 絕望緊緊相扣，也與人們深感人生毫無選擇的無奈心理相關聯⋯⋯但人們 screaming heads in Picasso’s Guernica, 1937. The palpable psychological 所做出的抉擇，卻往往又只侷限於在一個地緣環境中、有限時間內人們 intensity of these works is exemplary of Condo’s approach to portraiture 所被期待該如何過生活的選擇範疇之內。故此，在這些作品中，這些人物 as a form of ‘Psychological Cubism’. 就是要去超越這些既定界限」(摘錄自喬治·康多於羅夫·魯格福「吉恩· 路易斯之謎」一文)。在康多這些作品中的人物，存在於喜劇和悲劇之間， At the time of creating such works, Condo remarked that the Existential 被賦予他筆下一貫經典的「處於尖叫和微笑之間」的瘋狂鬼臉(摘錄自 Portraits ‘have to do with the idea of people’s despair today, with the idea 喬治·康多於《Time Out雜誌》 「喬治·康多訪談」2007年2月6日， that they don’t really have a choice…but the choices they make are very 網路文章)。 much within the geopolitical map for how people should live their lives at any given time. So in the paintings, these characters expand beyond those boundaries’ (George Condo quoted in Ralph Rugof, ‘The Enigma of Jean Louis’). In such pieces, the characters exist in a realm between comedy and tragedy, bound by a reaction that mirrors the typical Condo efect: a frenetic grimace that ‘goes between a scream and a smile’ (George Condo, quoted in ‘George Condo: Interview’, Time Out, 6 February 2007, online).

135. George Condo

b. 1957

Two Works: (i) Jean Louis with one Ear; (ii) Jean Louis’ Wife’s Sister (i) signed, titled and dated ‘George Condo “JEAN LOUIS WITH ONE EAR” 05’ on the reverse (ii) signed and titled ‘George Condo “JEAN LOUIS’ WIFE’S SISTER” 05’ on the reverse oil on canvas each 50.8 x 40.6 cm. (20 x 15 7/8 in.)

Painted in 2005.

Provenance Skarstedt Gallery, New York Private Collection Sotheby’s, New York, 29 September 2016, Lot 218 Acquired at the above sale by the present owner Exhibited (i) New York, Luhring Augustine Gallery, George Condo: Existential Portraits, 5 May - 3 June 2006, p.15 (illustrated) (ii) New York, Luhring Augustine Gallery, George Condo: Existential Portraits, 5 May - 3 June 2006, p.35 (illustrated) Literature (ii) Simon Baker, George Condo: Painting Reconfgured, London, 2015, no.276, p.242 (illustrated)

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

喬治·康多 兩件作品: (i)《一隻耳朵的吉恩·路易斯》; (ii)《吉恩·路易斯夫人姐妹》 油畫 畫布 2005年作 (i) 款識：George Condo《JEAN LOUIS WITH ONE EAR》05 (畫背) (ii) 款識：George Condo《JEAN LOUIS’WIFE’S SISTER》05 (畫背) 來源 紐約，Skarstedt 畫廊 私人收藏 紐約，蘇富比，2016年9月29日，拍品編號218 現藏者購自上述拍賣 展覽 (i) 紐約，Luhring Augustine 畫廊， 〈喬治·康多: 存在的肖像〉 ， 2006年5月5日-6月3日，第15頁 (圖版) (ii) 紐約，Luhring Augustine 畫廊， 〈喬治·康多: 存在的肖像〉 ， 2006年5月5日-6月3日，第35頁 (圖版) 出版 (ii) Simon Baker 著， 〈喬治·康多: 畫作重新配置〉 ， 倫敦，2015年，圖版編號276，第242頁 (圖版)

(i)

(ii)

136. Finn Juhl

1912-1989

Important and early ‘Chiefain’ armchair, model no. FJ 49 A Bangkok teak, leather 92.6 x 104 x 87 cm. (36 1/ 2 x 40 7/8 x 34 1/4 in.)

Executed by master cabinetmaker Niels Vodder, Copenhagen, Denmark.

Underside impressed NIELS VODDER CABINETMAKER/COPENHAGEN DENMARK/DESIGN: FINN JUHL. Designed 1949, produced circa 1955.

Provenance Private Collection, Copenhagen, circa 1955 Thence by descent Acquired directly from the above by the present owner Literature G.B. De Scarpis, ‘Finn Juhl, architetto danese’, Domus, nos. 252-53, November-December 1950, p. 23 Nona Triennale di Milano, exh. cat., Milan, 1951, p. 443 Svend Erik Møller and Viggo Sten Møller, Dansk Møbelkunst, Københavns snedkerlaugs møbeludstilling 1927-1951, Copenhagen, 1951, p. 82 Bent Salicath, ‘Finn Juhl and Danish Furniture’, Architects’ Year Book 6, London, 1955, pp. 145-46, 155 Esbjørn Hiort, Modern Danish Furniture, New York, 1956, pp. 54-55 Niels Vodder Furniture, Copenhagen, 1959, front cover, pp. 10-11 Grete Jalk, ed., Dansk Møbelkunst gennem 40 aar, Volume 3: 1947-1956, Copenhagen, 1987, pp. 124-25, 233, 311 Patricia Yamada, ed., Finn Juhl Memorial Exhibition, exh. cat., Osaka, 1990, passim Esbjørn Hiort, Finn Juhl: Furniture, Architecture, Applied Art, Copenhagen, 1990, front cover, pp. 23, 40-41 Martin Eidelberg, ed., Design 1935-1965: What Modern Was, New York, 1991, p. 187 Irene de Guttry and Maria Paola Maino, Il Mobile Italiano Degli Anni ‘40 e ‘50, Bari, 1992, p. 47 ‘Finn Juhl: la sua casa’, Abitare, no. 339, April 1995, p. 184-87 Noritsugu Oda, Danish Chairs, San Francisco, 1996, pp. 92-93 Arne Karlsen, Danish Furniture Design: in the 20th Century, Volume 2, Copenhagen, 2007, pp. 106, 187-89 Per H. Hansen, Finn Juhl and His House, Ostfldern, 2014, passim Anne-Louise Sommer, Watercolors by Finn Juhl, Berlin, 2016, pp. 40, 43, 107, 113 The present model was frst exhibited at the ‘Copenhagen Cabinetmakers’ Guild’, Kunstindustrimuseet, Copenhagen, 30 September–16 October 1949, stand 9 and at the IX Milan Triennale, 1951.

HK$ 500,000-800,000 US$ 64,100-103,000

芬．祖爾 《酋長椅》型號FJ 49 A 曼谷柚木 皮革 此作品設計於1949年，並於約1955年由丹麥哥本哈根木匠名師 尼爾斯·弗德製造。 款識：NIELS VODDER CABINETMAKER/COPENHAGEN DENMARK/DESIGN: FINN JUHL (底部) 來源 哥本哈根私人收藏 (約1955年購得) 上述藏家家屬繼承作品 現藏者直接購自上述來源 出版 G.B. De Searpis 著， 〈芬·祖爾:丹麥建築師〉， 第252-53集，1950年11月-12月，第23頁 〈第九屆米蘭三年展〉，展覽圖錄，米蘭，1951年，第443頁 Svend Erik Møller、Viggo Sten Møller 著， 〈丹麥家具藝術，哥本哈根櫥櫃家具展1927-1951年〉 ， 哥本哈根，1951年，第82頁 Bent Salicath 著， 《芬·祖爾與丹麥家具》 ， 〈建築師年鑑第6集〉 ，倫敦，1955年，第145-146、155頁 Esbjørn Hiort 著， 〈現代丹麥家俱〉 ，紐約，1956年，第54-55頁 〈尼爾斯·弗德家具〉，哥本哈根，1959年，封面、第10-11頁 Grete Jalk 編， 〈丹麥家具藝術40年, 第3集: 1947-1956年〉， 哥本哈根，1987年，第124-125、233、311頁 Patricia Yamada 編， 〈芬·祖爾紀念展〉 ，展覽圖錄， 大阪，1990年，各處 Esbjørn Hiort 著〈芬·祖爾：家具、建築及應用藝術〉 ， 哥本哈根，1990年，封面、第23、40-41頁 Martin Eidelberg 編， 〈設計1935-1965年: 現代過去是什麼〉， 紐約，1991年，第187頁 Irene de Guttry 與 Maria Paola Maino 著， 〈40、50年代的意大利家具〉 ，巴里，1992年，第47頁 《芬·祖爾之家》， 〈居住〉 ，第339集，1995年4月，第184-87頁 Noritsugu Oda 著， 〈丹麥椅子〉，三藩市，1996年，第92-93頁 Arne Karlsen 著， 〈丹麥家具設計：二十世紀，第2集〉 ， 哥本哈根，2007年，第106、187-189頁 Per H. Hansen 著， 〈芬·祖爾之家〉 ，奧斯特菲爾登， 2014年，各處 Anne-Louise Sommer 著， 〈芬·祖爾水彩作品〉 ，柏林， 2016年，第40、43、107、113頁

此型號曾於1949年9月30日至10月16日在哥本哈根 丹麥藝術與設計博物館〈哥本哈根細工木匠公會〉展出， 展位編號9，亦於1951年展於米蘭第九屆米蘭三年展。

Property from an Important Hong Kong Collection

137. Zao Wou-Ki

1920-2013

Composition signed and dated ‘Wou-Ki [in Chinese] ZAO 61’ lower right watercolour and gouache on paper 37.7 x 28.5 cm. (14 7/8 x 11 1/4 in.)

Executed in 1961, this work is accompanied by a certifcate of authenticity issued by the Foundation Zao Wou-Ki. Provenance Alisan Fine Arts, Hong Kong Acquired from the above by the present owner Exhibited Hong Kong, Alisan Fine Arts, Watercolours by Zao Wou-Ki, 19 September - 11 October 2003, p.14-15 (illustrated)

重要香港私人收藏

趙無極 《構圖》 水彩 水粉 紙本 1961年作，並附趙無極基金會所發之保證書。 款識：無極 ZAO 61 (右下) 來源 香港，藝倡畫廊 現藏者購自上述來源 展覽 香港，藝倡畫廊， 〈趙無極水彩展〉 ，2003年9月19日-10月11日， 第14-15頁 (圖版)

Works from an Important Hong Kong Collection

重要香港私人收藏

HK$ 350,000-550,000 US$ 44,900-70,500

The following works presented in the current sale hail from a collection spanning nearly four decades, one which features a singular preoccupation on fne art created by the world’s most renowned Asian artists that resided and worked in postwar Europe. These pioneering artists, including Zao Wou-Ki, Chu Teh-Chun and T’ang Haywen, brought with them to Europe a multitude of Eastern traditions that were central to their thinking. With this background, they began to create bodies of work that paid homage to that past, even as they found new sources of inspiration in the present. The present collection showcases the expressiveness of the artists’ dexterity, achieving dramatic efects through the use of vivid colours, and further consolidates their signifcant roles in spearheading the modern Asian abstraction movement.

Phillips is thrilled to have the opportunity to ofer a selection from this collection across our upcoming sales of 20th Century & Contemporary art in Hong Kong, a collection as unique in its personality and passion as the collector himself.

「『即便是這支粗筆，』他說， 『也可以捕捉到纖細。』 所有的一切躍然紙上，不可更改：你只能加，不能減。」 （趙無極，摘錄自Bernard Noël， 〈空白與墨〉） 本場拍賣所呈現的藏品源自一批橫跨四十餘年的收藏， 此批收藏專注於戰後歐洲居住、工作過的舉世聞名亞洲 藝術家，專題呈現其所創作的藝術作品。這些先驅藝術家 們，包含趙無極、朱德群、曾海文等，將深植於其思維方 式內的種種東方傳統引入歐洲。基於此背景，即便他們於 眼下發掘全新的靈感源泉進行創作，卻仍不忘致敬過往。 此批藏品彰顯了藝術家嫻熟技法的表現力，透過鮮明色彩 的使用以達戲劇效果，且強化了他們引領亞洲現代抽象 主義運動中舉足輕重的地位。 富藝斯欣然透過此次契機於即將在香港舉辦的二十世紀及 當代藝術拍賣中呈現此批收藏中的精選佳品。這些藏品 獨具一格，且與藏家本人一樣洋溢著熱忱。

‘Even with this thick brush ... you can still capture fneness. It all comes together on the paper. It is impossible to amend: you can only add, but you cannot remove.’

Zao Wou-Ki

Works from an Important Hong Kong Collection

重要香港私人收藏

Property from an Important Hong Kong Collection

138. Chu Teh-Chun

1920-2014

Éclat passager signed and dated ‘Chu Teh-Chun [in Chinese and Pinyin] 07’ lower right; further signed, titled and dated ‘“Eclat Passager” Chu Teh-Chun [in Pinyin and Chinese] 2007’ on the reverse oil on canvas 80.8 x 100 cm. (31 3/4 x 39 3/8 in.)

Painted in 2007, this work is accompanied with a certifcate of authenticity signed by the artist’s wife, Chu Ching-Chao.

Provenance Galerie Patrice Trigano, Paris Acquired from the above by the present owner

重要香港私人收藏

朱德群 《靈動》 油畫 畫布 2007年作，並附由朱德群妻子董景昭女士所簽署之保證書。 款識：Chu Teh-Chun 朱德群 07 (右下); 《Eclat Passager》Chu Teh-Chun 朱德群 2007 (畫背) 來源 巴黎，Patrice Trigano 畫廊 現藏者購自上述來源

Works from an Important Hong Kong Collection

重要香港私人收藏

HK$ 1,600,000-2,000,000 US$ 205,000-256,000

‘Chu Teh-Chun’s painting appears to me as a mental enigma, a theatre where moving shadows act without revealing their secret: the image leads to a perpetual Elsewhere which remains both elusive and irrevocably present.’

Pierre Restany on Chu Teh-Chun

Works from an Important Hong Kong Collection

重要香港私人收藏

Property from an Important Hong Kong Collection

139. T’ang Haywen

1927-1991

Untitled (diptych) signed ‘T’ang [in Pinyin] Haywen [in Chinese]’ lower right gouache, ink and watercolour on Kryo card 68.5 x 99 cm. (26 7/8 x 38 7/8 in.)

Executed in 1969-1971, this work will be included in the forthcoming catalogue raisonné in preparation by T’ang Haywen Archives and Mr. Philippe Koutouzis under No. LDC-KY-24.

Provenance Private Collection Sotheby’s, London, 14 July 2005, Lot 130 Private Collection Christie’s, Hong Kong, 31 May 2015, Lot 403 Acquired at the above sale by the present owner

Works from an Important Hong Kong Collection

重要香港私人收藏

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

重要香港私人收藏

曾海文 《無題》(雙聯作) 水粉 水墨 水彩 Kyro卡紙 1969-1971年作，此作品將收錄於曾海文檔案庫及古獨奇先生 正在編輯的《曾海文作品全集》當中，編號為 LDC-KY-24。 款識：T’ ang 海文 (右下) 來源 私人收藏 倫敦，蘇富比，2005年7月14日，拍品編號130 私人收藏 香港，佳士得，2015年5月31日，拍品編號403 現藏者購自上述拍賣

b. 1960

Untitled signed and dated ‘Wang Yan Cheng [in Pinyin and Chinese] 2007’ lower right; further signed and dated ‘Wang Yancheng [in Chinese] 2007’ on the reverse oil on canvas 120 x 120 cm. (47 1/4 x 47 1/4 in.)

Painted in 2007.

Provenance Galerie Patrice Trigano, Paris Acquired from the above by the present owner

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

王衍成 《無題》 油畫 畫布 2007年作 款識：Wang Yan Cheng 王衍成 2007 (右下); 王衍成 2007 (畫背) 來源 巴黎，Patrice Trigano 畫廊 現藏者購自上述來源

重要香港私人收藏

140. Wang Yancheng

重要香港私人收藏

Works from an Important Hong Kong Collection

Property from an Important Hong Kong Collection

Property from an Important Hong Kong Collection

141. Walasse Ting

1929-2010

Woman with Cat signed with artist’s signature stamp upper centre acrylic on paper 43.5 x 59 cm. (17 1/8 x 23 1/4 in.)

Provenance Opera Gallery, Hong Kong Acquired from the above by the present owner

Works from an Important Hong Kong Collection

重要香港私人收藏

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

重要香港私人收藏

丁雄泉 《女子與猫》 壓克力 宣紙 藝術家鈐印於作品中上 來源 香港，Opera 畫廊 現藏者購自上述來源

142. Walasse Ting

1929-2010

I Think Of You signed, titled and dated ‘“I Think of You” Ting 85’ on the reverse acrylic on canvas 60 x 85 cm. (23 5/8 x 33 1/ 2 in.)

Painted in 1985.

Provenance Gallery Delaive, Amsterdam Acquired from the above by the present owner in 1985

HK$ 350,000-450,000 US$ 44,900-57,700

丁雄泉 《我想你》 壓克力 畫布 1985年作 款識： 《I Think of You》Ting 85 (背面) 來源 阿姆斯特丹，Delaive 畫廊 現藏者於1985年購自上述來源

143. Finn Juhl

1912-1989

Pair of armchairs, model no. FJ 46 Bangkok teak, Niger leather Each: 83 x 63 x 59.6 cm. (32 5/8 x 24 3/4 x 23 1/ 2 in.)

Executed by master cabinetmaker Niels Vodder, Copenhagen, Denmark.

Underside of each impressed NIELS VODDER CABINETMAKER/ COPENHAGEN DENMARK/DESIGN: FINN JUHL. Designed 1946.

Provenance Private Collection, Copenhagen Thence by descent Acquired from the above by the present owner Literature Nyt Tidsskrif For Kunstindustri Dansk Kunsthaandværk, no. 5, May 1948, p. 160 ‘Un negozio esemplare’, Domus, no. 250, September 1950, p. 45 Svend Erik Møller and Viggo Sten Møller, Dansk Møbelkunst, Københavns snedkerlaugs møbeludstilling 19271951, Copenhagen, 1951, p. 82 Niels Vodder Furniture, Copenhagen, 1959, pp. 16-17 Grete Jalk, ed., Dansk Møbelkunst gennem 40 aar, Volume 2: 1937-1946, Copenhagen, 1987, pp. 320-21 Patricia Yamada, ed., Finn Juhl Memorial Exhibition, exh. cat., Osaka, 1990, pp. 24, 36, 132 Esbjørn Hiort, Finn Juhl: Furniture-Architecture-Applied Art, Copenhagen, 1990, pp. 10, 26, 69 ‘Finn Juhl: la sua casa’, Abitare, no. 339, April 1995, pp. 184, 186 Arne Karlsen, Danish Furniture Design: in the 20th Century, Volume 2, Copenhagen, 2007, p. 104 Per H. Hansen, Finn Juhl and His House, Ostfldern, 2014, pp. 4, 14, 32, 186 Anne-Louise Sommer, Watercolors by Finn Juhl, Berlin, 2016, p. 124

The present model was exhibited at the ‘Copenhagen Cabinetmakers’ Guild’, Kunstindustrimuseet, Copenhagen, 27 September–13 October 1946, stand 24.

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

芬·祖爾 《扶手椅一對》，型號 FJ 46 曼谷柚木 尼日皮革 此作品於1946年設計，並由丹麥哥本哈根木匠名師尼爾斯·弗德製造。 款識：NIELS VODDER CABINETMAKER/COPENHAGEN DENMARK/ DESIGN: FINN JUHL (每張椅底部) 來源 哥本哈根私人收藏 上述藏家家屬繼承作品 現藏者購自上述來源 出版 〈新餘市產業期刊：丹麥工藝品〉第5集，1948年5月，第160頁 《典型商店》 ， 〈Domus〉 ，第250集，1950年9月，第45頁 Svend Erik Møller與Viggo Sten Møller著， 〈丹麥家具藝術， 哥本哈根木工家具展：1927-1951年〉 ，哥本哈根，1951年，第82頁 〈尼爾斯·弗德家具〉，哥本哈根，1959年，第16-17頁 Grete Jalk 編， 〈丹麥家具藝術40年，第2集: 1937-1946年〉， 哥本哈根, 1987年, 第320-21頁 Patricia Yamada 編， 〈芬·祖爾記念展〉 ，展覽圖錄，大阪， 1990年，第24、36、132頁 Esbjørn Hiorth 著， 〈芬·祖爾：家具、建築及應用藝術〉 ，哥本哈根， 1990年，第10、26、69頁 《芬·祖爾之家》， 〈居住〉 ，第339集，1995年4月，第184、186頁 Arne Karlsen 著， 〈丹麥家具設計：二十世紀，第2集〉 ，哥本哈根， 2007年，第104頁 Per H. Hansen 著， 〈芬·祖爾之家〉 ，奧斯特菲爾登，2014年， 第4、14、32、186頁 Anne-Louise Sommer 著， 〈芬·祖爾水彩作品〉，柏林，2016年，第124頁

此型號曾於1946年9月27日至10月13日在哥本哈根丹麥藝術 與設計博物館〈哥本哈根細工木匠公會〉展出，展位編號24。

144. Kim Tschang-Yeul

b. 1929

Waterdrops signed and dated ‘1982 T. Kim Kim Tschang-Yeul [in Hanja]’ on the overlap oil and mineral pigment on canvas 99 x 80.7 cm. (38 7/8 x 31 3/4 in.)

Executed in 1982, this work is accompanied by a letter of authenticity signed by the artist.

Provenance Private Collection, USA Acquired from the above by the present owner

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

金昌烈 《水滴》 油畫 礦物顏料 畫布 1982年作，並附藝術家簽署之鑒定書。 款識：1982 T. Kim 金昌烈 (畫布邊緣) 來源 美國私人收藏 現藏者購自上述來源

145. Lee Ufan

b. 1936

From Line signed and dated ‘L. Ufan 83’ lower right mineral pigment on canvas 38 x 45.5 cm (14 7/8 x 17 7/8 in.)

Executed in 1983.

Provenance Private Collection Est-Ouest Auctions Co., Ltd, Hong Kong, 25 November 2008, Lot 271 Acquired at the above sale by the present owner

HK$ 450,000-650,000 US$ 57,700-83,300

李禹煥 《從線》 礦物顏料 畫布 1983年作 款識：L. Ufan 83 (右下) 來源 私人收藏 香港，伊斯特，2008年11月25日，拍品編號271 現藏者購自上述拍賣

146. Lee Ufan

b. 1936

Dialogue signed, titled and dated ‘“Dialogue” 2007 Lee Ufan’ on the reverse oil and mineral pigment on canvas 218 x 291 cm. (85 7/8 x 114 5/8 in.)

Executed in 2007.

Provenance Lisson Gallery, London Private Collection Acquired from the above by the present owner Literature New York, PaceWildenstein, Lee Ufan, 19 September - 25 October 2008, p.42-43 (illustrated)

李禹煥 《對話》 油畫 礦物顏料 畫布 2007年作 款識： 《Dialogue》2007 Lee Ufan (畫背) 來源 倫敦，里森畫廊 私人收藏 現藏者購自上述來源 出版 紐約，PaceWildenstein 畫廊， 〈李禹煥〉 ， 2008年9月19日-10月25日，第42-43頁 (圖版)

HK$ 2,600,000-3,600,000 US$ 333,000-462,000

Composed of singular sweeps of paint using the artist’s traditional grey palette, Dialogue sees the paint built up over an extended period of time, with the brush gradually unloading and the mark lightening as he drags it across the surface of the canvas, each repetition being ritualistically controlled by Lee’s held breath. From right to lef, the sweeps of paint fade from a blue grey to a pure white. Developing this series since 2006, the present lot exemplifes the artist’s composition of “a single dab in the void”, challenging the relationship between the “object” and the space it occupies on the canvas, immersing oneself in the art of encounter.

「同理，當畫布上的白色空間被畫筆的細膩技巧輕觸而 共鳴，大家可視此為繪畫的純真性質。」李禹煥，錄於 李禹煥， 《相遇的藝術》 ，倫敦，2004年，10頁

作品《對話》有著藝術家慣用的灰色調，每個筆觸皆一掃 到底，見證顏料經時間而建立，隨著筆刷逐步拖過畫面， 顏色漸淡，每個重複的動作都是李禹煥提著呼吸專心致志 而就，從右至左，顏料從藍灰色褪至白色。該系列從2006年 開始，此次上拍作品彰顯藝術家「空白中的單一輕觸」構圖 技巧，挑戰「物」與「空間」的關係，沉浸在相遇的藝術中。

‘By the same principle, when the white space on a canvas is made to vibrate by the slight touch of a brush using a refned technique, people can perceive it as the real nature of painting.’ Lee Ufan

147. Kazuo Shiraga

1924-2008

Exhilarating signed, titled and dated ‘“Exhilarating” 1989 December Kazuo Shiraga [in Kanji]’ on the reverse oil on canvas 38 x 45.5 cm. (14 7/8 x 17 7/8 in.)

Painted in 1989, this work is accompanied by a certifcate of authenticity issued by the Japan Art Dealers Association (JADA).

Provenance Gallery Kuranuki, Osaka Private Collection Acquired from the above by the present owner

白髮一雄 《爽快》 油畫 畫布 1989年作，並附日本洋畫商協同組合(JADA)所發之保證書。 款識： 《爽快》平成元年十二月作 白髮一雄 (日文) (畫背) 來源 大阪，Kuranuki 畫廊 私人收藏 現藏者購自上述來源

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

Exhilarating is a mature example from Kazuo Shiraga’s most methodologically-developed post-Gutai period, and features the artist’s iconic foot-painting technique.

This manner of painting rapidly set the artist apart from his peers in Gutai, earning him a dedicated feature in Life magazine in 1956, in which Shiraga swung from a rope suspended to the ceiling, dragging paint across a sprawling canvas with his feet. Post-Gutai works such as the present lot exude a lighter, unbridled sense of painterly execution and impasto manipulation, perhaps in part thanks to Shiraga’s training and subsequent ordainment as a Tendai Buddhist monk in the seventies— an undoubtedly spiritually liberating experience. Though created in the latter portion of Shiraga’s career and infused with a freer spirit, later works still featured signature motifs: a sanguine colour palette, hailing from some of the artist’s earliest and visceral Red Liquid, Wild Boar Hunting, and Water Margin-inspired series—the red hues of these immortalised on the cover of Gutai 4 (published 1 July 1956). These works represented the artist’s postwar fascination with the physicalisation of art-making itself, boosted all the more by the artist’s renowned axiom, “I want to paint as though rushing around a battlefeld” (Kazuo Shiraga, “Omou Koto (Thoughts)”, Gutai 2 (published 10 October 1955), p.20). The title Exhilarating further echoes the rush of adrenaline and force underscoring the performance-painter’s seminal performance, Challenging Mud in 1955, in which the artist plied and pushed mud with his entire body as if it were impasto.

Kazuo Shiraga would go on to explore the interrelationship between body and material throughout his entire oeuvre, and in particular become most well-known for his foot paintings—a hallmark of his opus which he continued into his eighties.

《爽快》為白髮一雄在後具體派時期純熟技法呈現的精湛 之作，藝術家以腳揮灑油彩的經典特色，在此發揮得淋漓 盡致。這種獨特的作畫方式，讓他在具體派同儕藝術家 樹立出鮮明的個人風格，並在1956年「生活」雜誌中獲得 專文報導。文章中白髮一雄被綁在一條從天花板懸掛下的 繩子上，身軀擺動，以腳在偌大的畫布上拖曳著油彩。 像本幅這樣的後具體派作品，往往散發出更輕鬆、更加 肆無忌憚的繪畫感及對厚重油彩的操控度。這也許和 藝術家在七十年代成為天台佛教僧侶的修行與訓練有關， 因為那無疑是一種精神上的解放經驗。雖然這是他後期 的作品，並融入更自由的精神，但仍深具其標誌性的 《野豬 主軸 — 歡愉正向的色調，呼應早期《紅色液體》、 狩獵》及《水的邊際》等系列中紅色調，這些代表性的紅色 也在1956年七月一日發行的「具體」第四期刊封面上被 永恆記錄下來。這些作品代表了白髮一雄在戰後對藝術 創作以身體力行的迷戀，也再次體現了他著名的這句話： 「我想要像在戰場上奔跑一樣作畫」(白髮一雄， 「Omou Koto (思想)」， 《具體 二 》，1955年10月10日出版， 第20頁)。《爽快》作品標題更是呼應了如腎上腺素飆升般 的快感與動能，揭示了其兼具行動藝術及畫家於一身的 開創性表現，正如同他在1995年《挑戰泥沼》裏，以整個 身體像是推著厚重油彩般地去推動泥巴。 綜觀其藝術生涯，白髮一雄持續探索身體與媒材之間的 互動關係，特別是最著名的足畫，這個創作標誌也一直 延續至其八十年代作品之中。

148. Sadamasa Motonaga

1922-2011

Untitled signed and dated ‘S. Motonaga ‘82’ lower lef acrylic on canvas 45 x 52 cm. (17 3/4 x 20 1/ 2 in.)

Painted in 1982.

Provenance Sakura Gallery, Nagoya Harmony Museum, Aichi Prefecture Private Collection Acquired from the above by the present owner Exhibited Aichi Prefecture, Harmony Museum, Sadamasa Motonaga Exhibition, 1997

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

元永定正 《無題》 壓克力 畫布 1982年作 款識：S. Motonaga ’82 (左下) 來源 名古屋，Sakura 畫廊 愛知縣，Harmony博物館 私人收藏 現藏者購自上述來源 展覽 愛知縣，Harmony博物館， 〈元永定正展〉 ，1997年

149. Sadamasa Motonaga

1922-2011

From Square of White Lines signed and dated ‘S. Motonaga ‘82’ lower lef; further signed and dated ‘S. Motonaga ‘82’ on the reverse oil and acrylic on canvas 130 x 97 cm. (51 1/8 x 38 1/4 in.)

Executed in 1982.

Provenance Sakura Gallery, Nagoya Harmony Museum, Aichi Prefecture Private Collection Acquired from the above by the present owner Exhibited Aichi Prefecture, Harmony Museum, Sadamasa Motonaga Exhibition, 1997 Literature Sadamasa Motonaga and Katsuhiko Yamane, Sadamasa Motonaga Works: 1955-1989, Kyoto, 1989, pp.90, 144 (illustrated)

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

元永定正 《從方型的白線》 油畫 壓克力 畫布 1982年作 款識：S. Motonaga‘82 (左下); S. Motonaga‘82 (畫背) 來源 名古屋，Sakura 畫廊 愛知縣，Harmony 博物館 私人收藏 現藏者購自上述來源 展覽 愛知縣，Harmony 博物館， 〈元永定正展〉 ，1997年 出版 元永定正與山根克彦著， 〈元永定正作品集：1955-1989年〉 ， 京都，1989年，第90、144頁 (圖版)

150. Lee Kun Yong

b. 1942

Bodyscape 76-1-2019 signed and dated ‘2019 Lee K Y’ lower right; further signed with the artist’s initials and titled ‘Lee K Y Lee Kunyong [in Korean and English] “Bodyscape 76-1-2019”’ on the reverse acrylic on canvas 60.6 x 72.7 cm. (23 7/8 x 28 5/8 in.)

Painted in 2019.

Provenance Private Collection, Asia Acquired from the above by the present owner

李健鏞 《體貌 76-1-2019》 壓克力 畫布 2019年作 款識：2019 Lee K Y (右下); Lee K Y 李健鏞 (韓文) Lee Kunyong (英文)《Bodyscape 76-1-2019》(畫背) 來源 亞洲私人收藏 現藏者購自上述來源

HK$ 120,000-240,000 US$ 15,400-30,800

One of the foremost early champions of performance art in Korea in the 1960s and 70s, Lee Kun-Yong’s thoughtprovoking pieces infused new spiritual energy into a Korean avant-garde art movement during post-war recovery. A pioneering fgure in the “Space and Time” and “Avant-Garde” art groups, he is from the same era as contemporary performance artist Marina Abramovic.

Lee’s participation in the São Paulo Biennale in 1979 consolidated his position as one of the key fgures of the Korean contemporary art.

李健鏞是韓國在1960至70年代行動藝術的先鋒，其發人深 思的作品，在二次大戰後復甦期間，為韓國前衛藝術運動 注入了嶄新的精神力量。身為「空間與時間」及「前衛」藝 術團體的領軍人物，與知名的當代行動藝術家瑪莉娜·阿布 拉莫維奇崛起活躍於同個時期。1979年參與巴西聖保羅雙年 展，奠定了他在韓國當代藝壇的重要地位。

151. Kim Taek Sang

b. 1958

Breathing Light - Camellia Flower signed, titled and dated ‘“Breathing Light - Camellia Flower” 2016-2019 Kim Taek Sang [in Hanja and English]’ on the reverse acrylic on canvas 133.3 x 135.5 cm. (52 1/ 2 x 53 3/8 in.)

Executed in 2016-2019.

Provenance Private Collection, Asia Acquired from the above by the present owner

HK$ 120,000-240,000 US$ 15,400-30,800

金澤相 《輕輕呼吸的山茶花》 壓克力 畫布 2016-2019年作 款識： 《Breathing Light - Camellia Flower》2016-2019 金澤相 Kim Taek Sang (畫背) 來源 亞洲私人收藏 現藏者購自上述來源

152. Nam Tchun Mo

b. 1961

Spring 2017 / 17-106 signed, titled and dated ‘Nam Tchun Mo “Spring 2017 / 17-106” 2017’ on the reverse acrylic on coated fabric 115 x 100 cm. (45 1/4 x 39 3/8 in.)

Executed in 2017.

Provenance Private Collection, Asia Acquired from the above by the present owner

南春模 《春天 2017 / 17-106》 壓克力 塗層布料 2017年作 款識：Nam Tchun Mo《Spring 2017 / 17-106》2017 (畫背) 來源 亞洲私人收藏 現藏者購自上述來源

HK$ 140,000-260,000 US$ 17,900-33,300

153. Kim Sou Sou

b. 1993

Two Works: (i) Untitled; (ii) Untitled (i) signed and dated ‘Kim Sou Sou 30P 2018 R’ on the reverse (ii) signed and dated ‘Kim Sou Sou 30P 2018 004’ on the reverse oil on canvas each 90.9 x 65.1 cm. (35 3/4 x 25 5/8 in.)

Executed in 2018.

Provenance Private Collection, Asia Acquired from the above by the present owner

金樹洙 兩件作品: (i)《無題》; (ii)《無題》 油畫 畫布 2018年作 (i) 款識：Kim Sou Sou 30P 2018 R (畫背) (ii) 款識：Kim Sou Sou 30P 2018 004 (畫背)

(i)

(ii)

來源 亞洲私人收藏 現藏者購自上述來源

HK$ 30,000-50,000 US$ 3,800-6,400

154. Natsuyuki Nakanishi

1935-2016

7V titled and dated ‘“7V” 2001’ on the reverse oil on canvas 97.2 x 130.4 cm. (38 1/4 x 51 3/8 in.)

Painted in 2001.

Provenance Acquired directly from the artist by the present owner

HK$ 200,000-350,000 US$ 25,600-44,900

中西夏之 《7V》 油畫 畫布 2001年作 款識： 《7V》2001 (畫背) 來源 現藏者直接購自藝術家本人

155. Tetsutaro Kamatani

b. 1979

Proliferation - lips signed, titled and dated ‘“Proliferation - lips” Tetsutaro Kamatani 2015’ on the reverse mixed media on canvas 145.5 x 145.5 cm. (57 1/4 x 57 1/4 in.)

Executed in 2015.

Provenance Gallery Cellar, Tokyo Private Collection Acquired from above by the present owner

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

鎌谷徹太郎 《增殖 - 嘴唇》 綜合媒材 畫布 2015年作 款識： 《Proliferation - lips》Tetsutaro Kamatani 2015 (畫背) 來源 東京，Cellar 畫廊 私人收藏 現藏者購自上述來源

156. Maki Hosakawa

b. 1980

Skyscraper Ramen signed, titled and dated ‘”Skyscraper Ramen [in Kanji]” 2018 Maki Hosakawa’ on the reverse acrylic on canvas 116.5 x 91 cm. (45 7/8 x 35 7/8 in.)

Painted in 2018.

Provenance Gallery Cellar, Tokyo Private Collection Acquired from the above by the present owner

HK$ 40,000-60,000 US$ 5,100-7,700

細川真希 《摩天大樓拉麵》 壓克力 畫布 2018年作 款識： 《摩天大樓拉麵 (日文)》2018 Maki Hosakawa (畫背) 來源 東京，Cellar 畫廊 私人收藏 現藏者購自上述來源

157. Masaru Shichinohe

b. 1959

Red Ball and Silver Moon signed ‘Shichinohe’ upper lef; further signed, titled and dated ‘“Red Ball and Silver Moon” 12.8.2014 M. Shichinohe’ on the reverse oil on wood panel 27 x 22 cm. (10 5/8 x 8 5/8 in.)

Executed in 2014.

Provenance Private Collection, Japan Acquired from the above by the present owner

HK$ 60,000-80,000 US$ 7,700-10,300

七戶優 《紅球和銀色月光》 油畫 木板 2014年作 款識：Shichinohe (左上)； 《Red Ball and Silver Moon》12.8.2014 M. Shichinohe (畫背) 來源 日本私人收藏 現藏者購自上述來源

158. Xu Zhen

b. 1977

Galileo’s Bird mixed media on canvas 267.5 x 180.5 x 17.5 cm. (105 3/8 x 71 1/8 x 6 7/8 in.)

Executed in 2012.

Provenance Long March Space, Beijing Acquired from the above by the present owner

徐震 《伽利略的鳥》 綜合媒材 畫布 2012年作 來源 北京，長征空間 現藏者購自上述來源

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

159. Finn Juhl

1912-1989

Pair of armchairs, model no. FJ 45 Bangkok teak, fabric, leather Each: 83.5 x 69.5 x 78 cm. (32 7/8 x 27 3/8 x 30 3/4 in.)

Executed by master cabinetmaker Niels Vodder, Copenhagen, Denmark.

Designed 1945, produced circa 1955.

Provenance Private Collection, Copenhagen, circa 1955 Thence by descent Acquired directly from the above by the present owner Literature Ebbe Kornerup, ‘Ægte og uægte Form og Konstruktion’, Nyt Tidsskrif For Kunstindustri, no. 12, December 1945, p. 166 Niels Vodder Furniture, Copenhagen, 1959, p. 8 Grete Jalk, ed., Dansk Møbelkunst gennem 40 aar, Volume 2: 1937-1946, Copenhagen, 1987, pp. 276-77 Esbjørn Hiort, Finn Juhl: Furniture-Architecture-Applied Art, Copenhagen, 1990, pp. 20, 25-26, 28, 34-35, 78, 101, 105 Patricia Yamada, ed., Finn Juhl Memorial Exhibition, exh. cat., Osaka, 1990, pp. 24, 42-45, 130 Per H. Hansen, Finn Juhl and His House, Ostfldern, 2014, pp. 4, 31, 41, 46, 79, 150, 152-53, 158-59, 160, 185, 206 Anne-Louise Sommer, Watercolors by Finn Juhl, Berlin, 2016, pp. 32-33, 103, 109, 112

The present model was exhibited at the ‘Copenhagen Cabinetmakers’ Guild’, Kunstindustrimuseet, Copenhagen, 28 September–14 October 1945, stand 14.

HK$ 250,000-350,000 US$ 32,100-44,900

芬·祖爾 《扶手椅子一對》型號 FJ 45 曼谷柚木 布料 皮革 此作品於1945年設計，並於約1955年代由丹麥哥本哈根木匠名師 尼爾斯·弗德製造。 來源 哥本哈根私人收藏 (約1955年購得) 上述藏家家屬繼承作品 現藏者購自上述來源 出版 Ebbe Kornerup 著， 《純正、正版與結構》 ， 〈新藝術產業期刊〉 ， 第12集，1945年12月，第166集 〈尼爾斯家具〉 ，哥本哈根，1959年，第8頁 Grete Jalk 編， 〈丹麥家具藝術40年, 第3集: 1937-1946年〉 ， 哥本哈根，1987年，第276-77頁 Esbjørn Hiorth 著， 〈芬·祖爾：家具、建築及應用藝術〉 ，哥本哈根， 1990年，第20, 25-26, 28, 34-35, 78, 101, 105頁 Patricia Yamada 編,〈芬·祖爾紀念展〉 ，展覽圖錄，大阪，1990年， 第24, 42-45, 130頁 Per H. Hansen 著， 〈芬·祖爾之家〉 ，奧斯特菲爾登，2014年， 第4, 31, 41, 46, 79, 150, 152-53, 158-59, 160, 185, 206頁 Anne-Louise Sommer 著， 〈芬·祖爾水彩作品〉 ，柏林，2016年， 第32-33、103、109、112頁

此型號曾於1945年9月28日至10月14日在哥本哈根丹麥藝術 與設計博物館〈哥本哈根細工木匠公會〉展出，展位編號14。

Property from the Liu Kang Family

160. Liu Kang

1911-2004

West Lake signed and dated ‘Kang [in Chinese] 33’ lower lef oil on canvas 61 x 75 cm. (24 x 29 1/ 2 in.)

Painted in 1933.

Provenance By descent from the artist to the present owner

劉抗家屬收藏

劉抗 《西湖》 油畫 畫布 1933年作 款識：抗 33 (左下) 來源 藝術家家屬繼承

HK$ 250,000-350,000 US$ 32,100-44,900

‘I used to live in China for some years, which is why I have been able to paint landscapes of Suzhou, Hangzhou, Guilin and Huangshan so efortlessly.

Later when I came to live in Southeast Asia, having felt the equatorial sunshine, appreciated the tropical fora, listened to the stains of Rasa Sayang and watched the gracefulness of the Legong dance, my wrist moved with spirit when I painted scenes for Malay kampongs and Balinese temple ceremonies.’

Liu Kang

‘With the emphasis on the common origin of calligraphy and painting in Chinese art, artists have long regarded both calligraphic and painterly brushstrokes as the very life of their art. Although oil painting has been my practice and study, I have never forgotten this crucial factor.’

Liu Kang

Coming from the personal collection of the artist’s family, the present lot is an early, rare and striking work from 1933, by the Singaporean modernist painter Liu Kang, whose unrivalled infuence in the establishment of the Nanyang style of painting in Singapore is uncontestable.

Painted in the very same year that Liu Kang began his professorship for Western art at the Shanghai Academy of Fine Arts, the scene was most likely painted during one of the outdoor excursions that Liu led pupils to, at the famed West Lake in Hangzhou.

Born in Fujian Province and having spent his formative years in Malaysia, Liu Kang returned from his art studies in Paris to Shanghai when he was 23 years old, and was hired by his mentor and cultural reformer Liu Haisu as an instructor to teach at his alma mater. The Shanghai Academy of Fine Arts, the most important private art school in Republican China, at the time was recovering from the Nude Model Incident that almost shut down the school permanently due to its highly controversial life nude sketching classes. Liu found himself at the centre of the Chinese modern art movement, struggling to defne modernity through synthesis of Eastern and Western art and culture, which at times were a confict between progressive and conservative ideals. In the 1930s, Liu Kang’s course had the highest enrollment at the Academy. Being the youngest professor at the Academy and a forward-thinking instructor, Liu Kang presented his students with new techniques and styles, encouraging them to paint en plein air in the manner of the Barbizon school and the Impressionists. Liu Haisu attributed the artist’s rapid success as a teacher to his “wide knowledge of literature, together with his serious and sincere approach to teaching.”

West Lake represents what Liu laid down as the key principles of his artistic practice: “a sense of ethnicity”, “time”, “place”, and “character”. (Taken from Liu Kang’s essay, “I Am 87” published for the occasion of Liu Kang at 87, Singapore Art Museum, Singapore, 1996.)

He depicts West Lake, one of the most important sources of inspiration for Chinese poets and painters over the centuries, in a manner that converges the colourful liveliness of the Paris school, chiaroscuro and linear perspective techniques of traditional European academic painting, and the dark outlines that recalls Chinese ink painting.

Being an admirer of Post-Impressionists such as Cézanne, van Gogh and Matisse, Liu had long believed their works displayed similarities to traditional Chinese painting in the way that they rejected portraying verisimilitude in favour of expressing the painter’s emotions, which can be likened to the xieyi quality in literati art.

West Lake, with its stylised depiction, poetic brushwork and unpainted areas (liubai), is almost a direct homage to one of the greatest literati painters - the poet-calligrapherpainter polymath Su Shi (also known as Su Dongpo), who served as a governor of Hangzhou in the Song dynasty, and whose namesake is on the very structure which this painting depicts – Su Causeway. Through West Lake, we can trace the roots of the cultural reformist movements of China in the frst half of the 20th century, and the generation of Chinese artists like Liu Kang who attempted to modernise Chinese literati painting.

When Liu moved to Malaysia in 1937, and Singapore in 1942, he continued to be known for his artistic enquiry of the relationship between traditions, identities, Southeast Asian regionalism and the search of new artistic languages. He later continued to be credited with numerous contributions to the local arts scene as an arts educator. In 1952, Liu, Chen Chong Swee, Chen Wen Hsi and Cheong Soo Pieng went on a feld trip to Bali in search of a visual expression that was uniquely Southeast Asian.

Just as he is known for Matisse-like colour blocks and bold outlines, which can be likened to batik and Chinese ink painting, let us recall that his lifelong infuences had primarily been founded on a quest to marry and innovate Europe and China from his early days, and fnally adapting such diverging stimuli to become a quintessential character of Southeast Asia.

Su Shi (Su Dongpo) (1037-1101) Wood and Rock handscroll, ink on paper Private Collection 蘇軾(蘇東坡)（1037-1101年） 《木石圖》 手卷，水墨紙本，私人收藏

Lef: Liu Kang painting en plein air.

Photo Courtesy: Family of Liu Kang.

Right: Shanghai Academy of Fine Arts sketching trip to Hangzhou, dated April 1933, the same year West Lake was painted. Liu Kang (sixth from the lef) was professor of the Academy at the time. Liu Haisu (centre) was founder of the Academy.

寫生中的劉抗。

Photo Courtesy: Family of Liu Kang.

照片來源：劉抗家屬

上海藝專前往杭州的寫生之旅，1933年4月，《西湖》為同年作品。 劉抗（左起第六位）是藝專當時的教授。劉海粟（中間）是學校的創立者。 照片來源：劉抗家屬

「我在中國住了些年，因此繪畫蘇州、杭州、桂林和黃山 的風景並不費勁。隨後我來到東南亞居住，感受到熾熱的 陽光和熱帶植物，聽著『拉莎莎揚埃』民謠歌曲，看著 優雅的雷貢舞蹈，當我勾畫馬來村莊和峇里廟宇儀式時， 我的手腕隨著我的精神在動。」— 劉抗 此次上拍作品來自藝術家家族的私人收藏，是1933年的 早期作品，罕見而突出。劉抗是新加坡現代主義畫家， 其對新加坡南洋畫派的風格建立功不可沒。此畫是他開始 在上海藝術學院執教西方藝術同年的作品。畫中景色為 杭州西湖，應是劉抗帶學生出去寫生時的作品。 劉抗在中國福建省出生，少年在馬來西亞度過，23歲時 從巴黎完成藝術學習回到上海，得到其恩師，文化革新 推動者劉海粟的聘用，在母校執教。上海藝專是民國時期 最重要的私立藝術學校，當時因推出了極具爭議的裸體模 特寫生課程而差點被封校，剛從該事件中恢復過來。劉抗 發現自己正處於中國現代藝術運動的中心，竭力在融合 東西方藝術與文化，為現代運動奠下新的定義，這在當時 是革新派和保守派之間的衝突。在1930年代，劉抗的課程 是學校報讀率最高的一個。作為學校最年輕的教授，他思 想前衛，展現給學生們新的技巧和風格，鼓勵他們像 巴比松畫派和印象主義畫家那樣在戶外寫生。劉海粟把 劉抗作為老師的迅速成功歸功於他「對學術的淵博知識， 以及他對教學的認真誠懇態度。」

《西湖》呈現出劉抗對其藝術手法歸納出的重點： 「民族 性」、 「時間」、 「地點」和「個性」。 （摘自劉抗的論文， 於「劉抗87歳大展」展覽發表，新加坡美術館，新加坡， 1996年）畫中的西湖是中國詩人與畫家數百年來最重要的 靈感來源之一，劉抗在畫中融匯了巴黎畫派的鮮活色彩， 明暗對比和傳統歐洲學院派的線性透視技法，而深色勾勒 線條則讓人想起中國水墨。劉抗十分欣賞塞尚、梵高、 馬蒂斯等後印象派時期藝術家，並認為他們的作品與傳統 中國繪畫有著相通的理念，他們捨形似而求表達畫家的 感性，與文人藝術的寫意思想頗為相似。 《西湖》之風格化 描繪、富有韻律的筆觸和留白處理都似乎在向文人畫巨匠 蘇東波（蘇軾）致敬，蘇軾為北宋杭州知州，更是著名的文 學家、書法家和畫家，此畫所繪之蘇堤便是為紀念他而命 名。通過《西湖》，我們似乎可以追溯中國二十世紀上半 期文化改革的發展根源，以及劉抗等一代中國藝術家為 中國文人畫現代化作出的努力。 劉抗於1937年移居馬來西亞，1942年移居新加坡，繼續 以其對傳統、身份和東南亞地方色彩的融合，以及對新型 藝術語言的追尋而聞名國際。其後，他更以藝術教育者的 身份對當地藝壇作出許多貢獻而備受讚譽。1952年， 劉抗、陳宗瑞、陳文希和鍾泗濱前往峇里實地考察旅行， 希望找到一種屬於東南亞的獨特視覺表達。劉抗筆下的 馬蒂斯風格色塊和粗獷勾勒線條最為知名，與蠟染和中國 水墨不無相似之處，由此也體現出他從早年就探索融匯 歐洲與中國藝術的追求，取不同風格理論之最，形成蘊含 東南亞精粹的藝術作品。

161. Mai Trung Thú’

1906-1980

Two Boys Playing the Flute signed with one seal of the artist and dated ‘MAI THU 1959’ lower right colour on silk laid down on cardboard 18 x 24 cm. (7 1/8 x 9 1/ 2 in.)

Executed in 1959.

Provenance Galerie Apesteguy, Deauville Private Collection, France (acquired from the above in the 1960s) Thence by descent to the present owner

梅忠恕 《兩名吹笛男孩》 彩墨 絹本 裱於紙板 1959年作 款識: MAI THU 1959 (右下) 藝術家鈐印一枚 (右下) 來源 多維爾，Apesteguy 畫廊 法國私人收藏 (於1960年代購自上述來源) 現藏者繼承作品

HK$ 100,000-150,000 US$ 12,800-19,200

Mai Thu ofers his collectors a visual poetry of his homeland through his ‘occidentalised’ version of Vietnamese art. The portrayal of women or children in a peaceful domestic setting is a recurring motif in Mai Thu’s oeuvre. The painting is made up of ink and gouache on silk – a technique originating from École des Beaux Arts d’Indochine, devised to apply European techniques whilst utilising local materials. Mai Thu favoured this medium as ink allowed for a precision of line.

Two Boys Playing the Flute is from a sought afer period as it was created afer Mai Thu had ample time to refne his technique having settled in France for over a decade.

梅忠恕透過西方視覺語境的越南藝術為藏家展現其故鄉 的視覺詩意。於靜謐的家居環境下描繪女性或者孩童是 梅忠恕作品中反覆出現的主題。作品中捕捉兩名吹笛男孩 的一刻溫情時光。畫作由水墨與水粉於絹本上繪製而成 — 此技法源自河內美術學院，在採用本地媒材的同時 運用西方技法。梅忠恕鐘情於此種媒材，因為墨水繪製 線條精準，正如男孩的輪廓和衣服上的精細褶皺所示。 《兩名吹笛男孩》創作於藝術家廣受歡迎的時期，彼時 梅忠恕已移居法國逾十年，擁有充足時間精練繪畫技巧。

162. Mai Trung Thú’

1906-1980

La Rose Rouge (J. femme à l’écharpe) [The Red Rose (Young Lady with Scarf)] signed with one seal of the artist and dated ‘MAI THU 1959’ lower right colour on silk laid down on cardboard 46 x 35.5 cm. (18 1/8 x 13 7/8 in.)

Executed in 1959.

Provenance Galerie Apesteguy, Deauville Private Collection, France (acquired from the above in the 1960s) Thence by descent to the present owner

梅忠恕 《紅玫瑰 (披巾女子)》 彩墨 絹本 裱於紙板 1959年作 款識: MAI THU 1959 (右下) 藝術家鈐印一枚 (右下) 來源 多維爾，Apesteguy 畫廊 法國私人收藏 (於1960年代購自上述來源) 現藏者繼承作品 HK$ 220,000-320,000 US$ 28,200-41,000

Mai Thu was among the frst cohort to graduate from the École des Beaux Arts d’Indochine. As a result of his Western art education and having made France his home from 1937, Mai Thu melds Western aesthetics into his vignettes of Vietnam’s upper class; through the depiction of fgures reminiscent of classical Western portraiture, yet tinged with a Vietnamese content. The strong Vietnamese pictorial identity is also the result of remaining faithful to one medium - gouache and ink on silk - as demonstrated in this portrait.

The present work engages the viewer with the serenity and sensual delight of a woman dressed in a traditional áo dài. The pious fgure set against the neutral background accentuates the burst of intense colour that emanates from rose. The precision of black ink defnes her facial features from the sof tone of the delicate moment, while the translucent scarf framing her face permeates an ethereal glow, insinuating her other-worldliness as a paragon of Confucian morality.

梅忠恕是首屆畢業於河內美術學院的學生之一。接受 西方藝術教育並於1937年移居法國，梅忠恕將西方 藝術審美融入他對於越南上流社會的刻畫之中；透過 描繪人物形象，引人聯繫起西方古典肖像畫，卻又在 內容上融合越南氣息。堅持運用水墨與水粉於絹本之上， 營造出強烈的越南視覺形象，正如此幅肖像畫所示。 本件拍品描繪一位衣著傳統越南國服的女子，給觀者 提供寧靜而愉悅的感官享受。虔誠的人物繪製於中性 的背景之上，強調了紅玫瑰發散而出的噴湧濃郁 色彩。黑色墨水於這個微妙時刻的柔和色調中精確地 勾勒出她的面部特徵，而半透明的披巾圍繞著她的 臉龐，散發出若隱若現的光芒，隱隱透露出她作為 儒家道德模範的超凡脫俗。

Property from a Private Californian Collection

∑

163. George Nakashima

1905-1990

‘Conoid’ desk American black walnut, one East Indian rosewood butterfy key 73.6 x 157.5 x 85.7 cm. (28 7/8 x 62 x 33 3/4 in.)

Together with a copy of the original order card and certifcate of authenticity from Mira Nakashima. Underside inscribed in black marker SCHILLER. Produced 1977.

Provenance Acquired directly from the artist by the present owner, 1977 Literature Mira Nakashima, Nature, Form & Spirit: The Life and Legacy of George Nakashima, New York, 2003, p. 179 for a similar example

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

加州私人收藏

中島勝寿 《錐形書桌》 美國黑胡桃 東印度紅木蝴蝶鑰匙 此作品於1977製造，並附由中島勝寿所簽署之原始訂單卡 及由 Mira Nakashima 所發之保證書。 款識：SCHILLER (底部) 來源 現藏者於1977年直接購自藝術家本人 出版 Mira Nakashima 著， 〈自然、形態、靈魂: 中島勝寿的一生〉，紐約， 2003年，第179頁 (同系列作品)

164.

Property from a Private Californian Collection

加州私人收藏

George Nakashima

中島勝寿

1905-1990

Single-armed rocking chair American black walnut, hickory 86.3 x 81.2 x 86.3 cm. (33 7/8 x 31 7/8 x 33 7/8 in.)

Together with a copy of the original order card and certifcate of authenticity from Mira Nakashima. Underside inscribed in black marker Schiller/Rocker. Produced 1971.

Provenance Acquired directly from the artist by the present owner, 1971 Literature George Nakashima, The Soul of a Tree, A Woodworker’s Refections, Tokyo, 1981, p. 150 Mira Nakashima, Nature, Form & Spirit: The Life and Legacy of George Nakashima, New York, 2003, p. 112

HK$ 30,000-50,000 US$ 3,800-6,400

《單臂摇椅》 美國黑胡桃 山胡桃木 此作品於1971製造，並附由中島勝寿所簽署之原始訂單卡 及由 Mira Nakashima 所發之保證書。 款識：Schiller/Rocker (底部) 來源 現藏者於1971年直接購自藝術家本人 出版 中島勝寿著， 〈樹的靈魂:木工師的思考〉 ，東京，1981年，第150頁 Mira Nakashima 著， 〈自然、形態、靈魂: 中島勝寿的一生〉 ， 紐約，2003年，第112頁

165. Marina Cruz-Garcia

b. 1982

Royal Blue signed ‘Marina 2014’ lower lef oil on canvas 122.7 x 91.8 cm. (48 1/4 x 36 1/8 in.)

Executed in 2014.

Provenance Mind Set Art Center, Taipei Acquired from the above by the present owner Exhibited Taipei, Mind Set Art Center, Marina CRUZ: Wear and Tear , 10 January - 7 February 2015, n.p.

HK$ 60,000-80,000 US$ 7,700-10,300

瑪莉娜．克魯斯 《品藍》 油畫 畫布 2014年作 款識：Marina 2014 (左下) 來源 台北，安卓藝術 現藏者購自上述來源 展覽 台北，安卓藝術， 〈Marina Cruz:「時光轉衣」〉 ， 2015年1月10日 - 2月7日，無頁數

Property from an Important Contemporary Southeast Asian Collection

166. Rodel Tapaya

b. 1980

Two Works: (i) Lif; (ii) Door to Door each signed and dated ‘Tapaya 2014’ lower right acrylic on paper each 77 x 55.5 cm. (30 3/8 x 21 7/8 in.)

Executed in 2014.

Provenance Arndt Contemporary Art, Berlin Acquired from the above by present owner Exhibited Berlin, Arndt Contemporary Art, Rodel Tapaya, "Chocolate Ruins", 15 March - 26 April 2014

HK$ 35,000-50,000 US$ 4,500-6,400

重要東南亞當代藝術收藏

羅德爾．塔帕雅 兩件作品: (i) 電梯; (ii) 門到門 壓克力 紙本 2014年作 款識：Tapaya 2014 (每件作品右下) 來源 柏林，Arndt Contemporary Art 現藏者購自上述來源 展覽 柏林，Arndt Contemporary Art， 〈羅德爾·塔帕雅， 「巧克力廢墟」〉， 2014年3月15日-4月26日

重要東南亞當代藝術收藏

(ii)

Property from an Important Contemporary Southeast Asian Collection

(i)

重要東南亞當代藝術收藏

Property from an Important Contemporary Southeast Asian Collection

Property from an Important Contemporary Southeast Asian Collection

167. Maria Taniguchi

b. 1981

US Letter Painting #25 signed and dated ‘MARIA TANIGUCHI 2014’ on the reverse acrylic on linen 56 x 40.6 cm. (22 x 15 7/8 in.)

Executed in 2014.

Provenance Gallery EXIT, Hong Kong Acquired from the above by the present owner in 2014

HK$ 35,000-55,000 US$ 4,500-7,100

重要東南亞當代藝術收藏

谷口．瑪麗亞 《US Letter Painting #25》 壓克力 麻布 2014年作 款識：MARIA TANIGUCHI 2014 (背面) 來源 香港，安全口畫廊 現藏者於2014年購自上述來源

Property from an Important Contemporary Southeast Asian Collection

168. Maria Taniguchi

b. 1981

Two Works: (i) News XIII; (ii) News XV acrylic on archival paper each 67.8 x 49.7 cm. (26 3/4 x 19 5/8 in.)

Executed in 2012.

Provenance Silverlens Gallery, Singapore Arndt Fine Art, Singapore Acquired from the above by the present owner

HK$ 40,000-60,000 US$ 5,100-7,700

重要東南亞當代藝術收藏

谷口．瑪麗亞 兩件作品: (i) News XIII; (ii) News XV 壓克力 檔案紙 2012年作 來源 新加坡，Silverlens 畫廊 新加坡，Arndt Fine Art 現藏者購自上述來源

重要東南亞當代藝術收藏

(ii)

Property from an Important Contemporary Southeast Asian Collection

(i)

Property from an Important Contemporary Southeast Asian Collection

169. Natee Utarit

b. 1970

The Commitment (Illustration of the Crisis Series) signed, titled and dated ‘Natee Utarit 2011 “Illustration of the crisis series”’ on the reverse oil on linen 140 x 170 cm. (55 1/8 x 66 7/8 in.)

Painted in 2011.

Provenance Richard Koh Fine Art, Kuala Lumpur Arndt Contemporary Art, Berlin Acquired from the above by the present owner Exhibited Berlin, ARNDT, Asia: Looking South, 10 September - 27 October 2011 Sydney, CASSydney, Migration, 27 March - 10 July 2012 Literature Katerina Valdivia Bruch, Kathleen Suraya Warden, Thanes Wongyannava, Patrick D. Flores and Brian Curtin, Natee Utarit – Illustration of the Crisis, Kuala Lumpur, 2013, p. 98-99 (illustrated)

重要東南亞當代藝術收藏

納堤·尤塔瑞 《承諾》(危機例證系列) 油畫 畫布 2011年作 款識：Natee Utarit 2011《Illustration of the crisis series》(畫背) 來源 吉隆坡，Richard Koh Fine Art 柏林，Arndt Contemporary Art 現藏者購自上述來源 展覽 柏林，ARNDT， 〈亞洲：向南看〉 ，2011年9月10日-10月27日 悉尼，CASSydney， 〈遷移〉 ，2012年3月27日-7月10日 出版 Katerina Valdivia Bruch、Kathleen Suraya Warden、Thanes Wongyannava、Patrick D. Flores與Brian Curtin著， 〈納堤·尤塔瑞: 危機的例證〉 ，吉隆坡，2013年，第98-99頁（圖版）

Property from an Important Contemporary Southeast Asian Collection

重要東南亞當代藝術收藏

HK$ 550,000-750,000 US$ 70,500-96,200

Natee Utarit’s world is one of imagined compositions and objects that traverse and obscure the line between reality and fction. In The Commitment (Illustration of the Crisis Series), Utarit paints a still life with elements of the domestic and ordinary placed in tandem with the bizarre and fantastical. A stone-white bull’s head lies stagnant on a ceramic platter. There is a physical and sentimental weight to it, as if it is the decapitated segment of a grand statue. It is a sense of weight one can attribute equally to the living and to the dead. Western art history is commonly referenced

by Utarit, and in this case, we are led towards Salome’s slaying of St John the Baptist, or Judith’s beheading of Holofernes. A head on a platter is both sacrifcial and ceremonial.

Although Utarit works with conventional compositions and high technicality, clearly infuenced by the Old Masters, he is also able to juxtapose this with his own contemporary fair. In this piece, a jarringly fat background is achieved through a solid grey table and striped wallpaper. Void of dimension, its bright colours vibrate with the hypnotism of a TV test signal, boldly contrasting the objects in the foreground. Bangkok born and educated, the visual contradictions in Utarit’s works are representative of the contradictions within his personal cultural experience, as well as Thailand’s socio-political landscape. This work is not visually cluttered, but it is symbolically and thematically complex.

Utarit’s work is characterised by a smart combination of capitalist satire meets cultural refection meets memento mori, and an ability to balance the aesthetics of realism with Modernist critique. The Commitment epitomises this nuanced style that makes Utarit unique amongst his contemporaries.

納堤·尤塔瑞的世界充滿想象的構圖與物品，橫跨且模糊 現實與虛幻的邊界。於《承諾》(危機例證系列)中，尤塔瑞 將日常家居元素與光怪陸離的景象並置，描繪了一幅靜物 圖。一隻石白色公牛頭死氣沉沉地躺在瓷盘上。營造出 一種身心俱疲的沉重感，宛如一座宏偉雕塑被屍首分離。 這種沉重感同等地歸因于生者與死者。尤塔瑞時常引用 西方藝術史，在這件作品中，我們既能看到莎樂美屠殺 施洗者約翰又能瞥見朱迪斯斬首荷羅孚尼。盤中顱首即有 祭祀感又有儀式感。 儘管尤塔瑞的作品構圖傳統、技巧高超，顯而易見受到 早期繪畫大師的影響，他亦能將其與當代風情融合。 於此件作品中，純灰色桌子與條紋狀牆紙形成完全扁平的 背景。維度的缺失，鮮亮的色彩隨著宛若電視測試信號 的催眠而跳躍，與前景中的物品形成鮮明對比。於曼谷 出生、接受教育，尤塔瑞作品中的視覺矛盾與其個人文化 經歷與泰國社會政治環境中的矛盾密不可分。本件作品 視覺上並不擁擠，卻具有複雜的象徵意義與主旨。 尤塔瑞作品的特點在於巧妙地結合資本主義反諷、文化 反思與死亡預警，並能於寫實主義審美與現代主義批判中 獲得平衡。《承諾》完美體現了尤塔瑞精妙的藝術風格， 使他於同輩藝術家中顯得獨一無二。

Property from an Important Contemporary Southeast Asian Collection

重要東南亞當代藝術收藏

Property from a Private European Collection

170. Alexander Calder

1898-1976

Butterfy woven with the artist’s signature ‘Calder’ lower right; further woven with the Ateliers Pinton Manufactures monogram ‘FP’ lower lef; further woven with ‘EXA’ on the reverse dyed and hand-woven woollen tapestry 146 x 208.5 cm. (57 1/ 2 x 82 1/8 in.)

Executed circa 1970, this work is one of two artist’s proofs from an edition of 6 plus 2 artist’s proofs.

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

歐洲私人收藏

亞歷山大．考爾德 《蝴蝶》 染色 手工編織 羊毛掛毯 約1970年作，共有6版及2版藝術家版，此為藝術家版其一。 款識: Calder (編織於右下); Ateliers Pinton製造商標誌“FP” (編織於左下); EXA (編織於掛毯背面)

171. Pablo Picasso

1881-1973

Femme nue devant une statue (Naked Woman in Front of a Statue) signed and numbered ‘Picasso 205’ lower right and lef respectively etching on Montval paper with full margins Image: 31.4 x 22.5 cm. (12 3/8 x 8 7/8 in.)

Sheet: 44.8 x 34 cm. (17 5/8 x 13 3/8 in.)

Executed in 1931, this work is number 205 from an edition of 260 (there was also an edition of 50 with wide margins), printed by Roger Lacourière and published by Ambroise Vollard, Paris in 1939.

Literature Georges Bloch, Picasso 1904-1967: Catalogue of the Printed Graphic Work, Bern, 1968, no.139 Brigitte Baer, Picasso the Engraver: 1900-1942, London, 1997, no.205

HK$ 60,000-100,000 US$ 7,700-12,800

巴布羅．畢加索 《雕像前的裸女》 蝕刻版畫 夢法兒紙本 整頁邊距 1931年作， 共有260版，此為第205版 (並有50版寛邊距)，由Roger Lacourière印製及 Ambroise Vollard 1939年於巴黎出版。 款識：Picasso 205 (右與左下) 出版 Georges Bloch著， 〈巴布羅·畢加索1904-1967： 版畫繪圖作品集〉 ，伯恩，1968年，編號139 Brigitte Baer著， 〈雕刻師畢加索：1900-1942〉 ， 倫敦，1997年，編號205

172. Lucian Freud

1922-2011

Woman on a Bed signed with the artist’s initials and numbered ‘12/30 L.F.’ lower lef and lower right respectively etching on Somerset Satin White Paper with full margins image: 24 x 21 cm. (9 1/ 2 x 8 1/4 in.) sheet: 44 x 39 cm. (17 3/8 x 15 3/8 in.)

Executed in 1991-1992, this work is number 12 from an edition of 30 plus 10 artist’s proofs, published by Matthew Marks Gallery, New York and James Kirkman, London.

Provenance Matthew Marks Gallery, New York Acquired from the above by the present owner Exhibited New York, Museum of Modern Art, Lucian Freud: The Painter’s Etchings, 16 December 2007 - 10 March 2008 (another impression exhibited and illustrated p. 70) New York, Matthew Marks Gallery, Lucian Freud: Recent Drawings and Etchings, 11 December 1993 - 24 January 1994 (another impression exhibited and illustrated p.17) Literature Craig Hartley, Lucian Freud: Etchings 1946-2004, Edinburgh, 2004, no.44 Starr Figura, Lucian Freud: The Painter’s Etchings, New York, 2007, no. 38

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

盧西安·弗洛伊德 《床上女子》 蝕刻版畫 薩默塞特白色紙本 整頁邊距 1991-1992年作， 共有30版及10版藝術家版，此為第12版， 由紐約 ，Matthew Marks 畫廊與倫敦，James Kirkman出版。 款識：12/30 L.F. (左與右下) 來源 紐約，Matthew Marks 畫廊 現藏者購自上述來源 展覽 紐約，現代藝術博物館， 〈盧西安·弗洛伊德：藝術家蝕刻版畫〉 ， 2007年12月16日-2008年10月3日 (同系列作品圖版，第70頁 ) 紐約，Matthew Marks 畫廊， 〈盧西安·弗洛伊德：近期素描及蝕刻版畫〉 ， 1993年12月11日-1994年1月24日 (同系列作品圖版，第17頁 ) 出版 Craig Hartley 著， 〈盧西安·弗洛伊德：蝕刻版畫1946-2004〉， 愛丁堡，2004年，編號44 Starr Figura 著， 〈盧西安·弗洛伊德：藝術家蝕刻版畫〉 ， 紐約，2007年，編號38

173. Lucian Freud

1922-2011

Head of a Naked Girl signed with the artist’s initials and numbered ‘42/46 L.F.’ lower lef and lower right respectively etching on Somerset Textured White Paper with full margins image: 38.1 x 38.1 cm. (15 x 15 in.) sheet: 59.1 x 56.8 cm. (23 1/4 x 22 3/8 in.)

Executed in 2000, this work is number 42 from an edition of 46 plus 12 artist’s proofs, published by Matthew Marks Gallery, New York.

Provenance Matthew Marks Gallery, New York Acquired from the above by the present owner Exhibited New York, Museum of Modern Art, Lucian Freud: The Painter’s Etchings, 16 December 2007 - 10 March 2008 (another impression exhibited and illustrated p.91) Literature Starr Figura, Lucian Freud: The Painter’s Etchings, New York, 2007, no.60 William Feaver, Lucian Freud, London, 2002, no.317

HK$ 120,000-160,000 US$ 15,400-20,500

盧西安·弗洛伊德 《裸女頭部》 蝕刻版畫 薩默塞特白色紙本 整頁邊距 2000年作， 共有46版及12版藝術家版，此為第42版， 由紐約 Matthew Marks 畫廊出版。 款識：42/46 L.F. (左與右下) 來源 紐約，Matthew Marks 畫廊 現藏者購自上述來源 展覽 紐約，現代藝術博物館， 〈盧西安·弗洛伊德：藝術家蝕刻版畫〉， 2007年12月16日-2008年3月10日 (同系列作品圖版，第91頁 ) 出版 Starr Figura 著， 〈盧西安·弗洛伊德：藝術家蝕刻版畫〉， 紐約，2007年，編號60 William Feaver 著， 〈盧西安·弗洛伊德〉 ， 倫敦，2002年，編號317

174. Sanyu

1895-1966

Standing Nude with Raised Arms ink on paper 45 x 21 cm. (17 3/4 x 8 1/4 in.)

This work is accompanied by a certifcate of authenticity issued by Rita Wong.

Provenance Private Collection, Paris Acquired from the above by the present owner Literature Rita Wong, SANYU Catalogue Raisonne: Drawings and Watercolours, Taipei, 2014, no. D0510, electronic index p. 44 (illustrated)

常玉 《裸女舉臂站姿》 水墨 紙本 此作品附衣淑凡所發之保證書。 來源 巴黎私人收藏 現藏者購自上述來源 出版 衣淑凡著， 〈常玉素描與水彩全集〉，台北，2014年，圖版D0510， 電子附錄44頁 (圖版) HK$ 100,000-200,000 US$ 12,800-25,600

175. Sanyu

1895-1966

Untitled marked with one seal of the artist lower right ink on paper 45 x 27.8 cm. (17 3/4 x 10 7/8 in.)

Provenance Private Collection Christie’s, Hong Kong, 27 November 2005, Lot 279 Acquired at the above sale by the present owner Literature Rita Wong, SANYU Catalogue Raisonne: Drawings and Watercolours, Taipei, 2014, no. D0327, electronic index p. 32 (illustrated)

常玉 《無題》 水墨 紙本 藝術家鈐印一枚 (右下) 來源 私人收藏 香港，佳士得，2005年11月27日，拍品編號279 現藏者購自上述拍賣 出版 衣淑凡著， 〈常玉素描與水彩全集〉 ，台北，2014年，圖版D0327， 電子附錄32頁 (圖版) HK$ 200,000-300,000 US$ 25,600-38,500

176. Léonard-Tsuguharu Foujita

1886-1968

Petite flle avec deux chats signed and inscribed ‘Foujita’ lower centre pencil on tracing paper 30 x 24.5 cm. (11 3/4 x 9 5/8 in.)

This work is accompanied by a certifcate of authenticity issued

by Sylvie Buisson.

Provenance Private Collection Cornette de Saint Cyr, Paris, 26 March 2013, Lot 272 Private Collection Bonhams, London, 2 March 2017, Lot 21 Acquired at the above sale by the present owner

HK$ 120,000-180,000 US$ 15,400-23,100

藤田嗣治 《小女孩與兩隻貓》 鉛筆 描圖紙 此作品附Sylvie Buisson所發之保證書。 款識：Foujita (中下) 來源 私人收藏 巴黎，Cornette de Saint Cyr，2013年3月26日， 拍品編號272 私人收藏 倫敦，邦瀚斯，2017年3月2日，拍品編號21 現藏者購自上述拍賣

177. Léonard Tsuguharu Foujita

1886–1968

Nu aux bras levés signed and dated ‘Tsuguharu [in Kanji] Foujita 1926’ lower lef pencil, watercolour and coloured crayons on tracing paper laid down on canvas 56.3 x 38.2 cm. (22 1/8 x 15 in.)

Executed in 1926, this work is accompanied by a certifcate of authenticity issued by Sylvie Buisson.

Provenance Galerie Paul Pétridès, Paris Private Collection, Japan (acquired from the above between the late 1980s and early 1990s) Christie’s, London, 28 June 2017, Lot 228 Acquired at the above sale by the present owner

藤田嗣治 《舉臂裸女》 鉛筆 水彩 彩色蠟筆 描圖紙裱於畫布 1926年作，並附 Sylvie Buisson 所發之保證書。 款識：嗣治 Foujita 1926 (左下) 來源 巴黎，Paul Pétridès 畫廊 日本私人收藏 (於1980年代末至1990年代初購自上述來源) 倫敦，佳士得，2017年6月28日，拍品編號228 現藏者購自上述拍賣 出版 Sylvie 與 Dominique Buisson 著， 〈藤田嗣治：第1集〉 ， 巴黎，1987年，作品全集編號26.24，第383頁 (圖版)

Literature Sylvie and Dominique Buisson, Léonard-Tsuguharu Foujita: Volume 1, Paris, 1987, no. 26.24, p. 383 (illustrated)

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

In the early twentieth century, bohemian culture fourished on the banks of the River Seine in Paris, drawing numerous artists from all over the world to congregate, forming a creative ethos which incubated the École de Paris and among these rich cultures and artistic inspirations saw the rise of Léonard-Tsuguharu Foujita. Arriving in Paris in 1913, Foujita became active in its art scene, fully absorbed into the swirling atmosphere of the Parisian Années Folles which saw his creative desire freed from some of the perceived constraints of Japanese artistic formality. His sensational breakthrough came in the form of his depiction of the nude, a traditional canon of Western art history yet having the delicacy of traditional Japanese aesthetics retained. His portraits of the female nude are in the permanent collection of numerous art museums and institutions around the world including Reclining Nude with Toile de Jouy at the National Museum of Modern Art, Paris and Reclining Nude with a Cat in the Museum of Modern Art, Saitama.

Foujita’s exceptional synthesis and balance in the treatment of the subject is demonstrated beautifully in Nu aux bras levés. Employing undiluted hues to bring out the female fgure’s striking features and creating smooth lines in a concise manner to construct her body fgure, Foujita showcases his renowned technique of rendering the skin in a fne, ivory-like texture. The enchanting gaze and sensual poise of the female nude, complimented by the folds of the bed sheet, suggest a hint of erotica and lustful sentiment. Nu aux bras levés is a mesmerising version of the modern female nude, demonstrating Foujita’s brilliant draughtsmanship in weaving traditional Japanese aesthetics with a mastery of classical Western painting techniques within the composition and thus attracting the viewers into boundless imagination.

二十世紀初期，波西米亞文化在巴黎塞納河畔興起， 吸引了來自世界各地的藝術家，聚集在一起，形成一個 創意的集中地，孕育出巴黎畫派，滿是豐富多元的文化 和藝術靈感，藤田嗣治亦在當中展露頭角。他於1913年 抵達巴黎，隨即便活躍於藝術界，沉浸在巴黎「瘋狂 年代」的炫目氛圍中，令他的創意慾望從日本藝術既有的 形式規限中釋放出來。藤田嗣治的感知突破，體現於他對 裸體的描繪，他為這個西方藝術史固有題材加入了日本 傳統美學的細膩柔美。其筆下的裸女畫作現為世界各地 美術博物館和機構的永久收藏，包括巴黎國立現代藝術 博物館的《側臥裸女與法式印花布》和埼玉市現代藝術 博物館的《側臥裸女與貓》。 藤田嗣治對所畫對象的精湛綜合力與平衡在此幅《舉臂裸 女》中展現無遺。以純粹的顏色和光滑精煉的線條呈現出 女體的動人特徵，是藝術家筆下最具代表性地；細膩 象牙白質感的肌膚。畫中女子目光迷人，姿態性感，加上 床單的皺褶，隱約有一絲情色意味。 《舉臂裸女》是裸女 題材在現代的感性演繹，見證藤田嗣治在畫面融匯日本 傳統美學與西方古典繪畫技巧的高超造詣，給予觀者無窮 的想像空間。

Property from a Private Collection, Copenhagen, Denmark

∑

178. Ole Wanscher

1903-1985

Property from a Private Collection, Copenhagen, Denmark

∑

179. Ole Wanscher

1903-1985

Armchair Brazilian rosewood, Niger leather 79.5 x 63.7 x 57 cm. (31 1/4 x 25 1/8 x 22 1/ 2 in.)

Executed by master cabinetmaker A.J. Iversen, Copenhagen, Denmark.

Underside with manufacturer’s printed paper label Snedkermester/A. J. Iversen/København. Designed circa 1958.

Desk Brazilian rosewood-veneered wood, Brazilian rosewood, brass 73 x 145 x 85 cm. (28 3/4 x 57 1/8 x 33 1/ 2 in.)

Executed by master cabinetmaker A.J. Iversen, Copenhagen, Denmark.

Underside with manufacturer’s printed paper label Snedkermester/A. J. Iversen/København. Designed circa 1962.

Literature Noritsugu Oda, Danish Chairs, Kyoto, 1996, p. 71

Literature Grete Jalk, ed., Dansk Møbelkunst gennem 40 aar, Volume 4: 1957-1966, Copenhagen, 1987, p. 199

丹麥哥本哈根私人收藏

The present model was exhibited at the ‘Copenhagen Cabinetmakers’ Guild’, Kunstindustrimuseet, Copenhagen, 21 September–7 October 1962, stand 7.

奧萊．萬夏 《扶手椅》 巴西黑黃檀木 尼日皮革 此作品於約1958年設計，並由丹麥哥本哈根木匠名師A.J.艾弗森製造。 款識：Snedkermester/A. J. Iversen/København（印於作品底部標籤) 出版 織田憲嗣著， 〈丹麥椅子〉，京都，1996年，第71頁

HK$ 20,000-30,000 US$ 2,600-3,800

丹麥哥本哈根私人收藏

奧萊．萬夏 《書桌》 巴西黑黃檀木飾面板 巴西黑黃檀木 銅 此作品於約1962年設計，並由丹麥哥本哈根木匠名師A.J.艾弗森製造。 款識：Snedkermester/A. J. Iversen/København (印於作品底部標籤) 出版 Grete Jalk 編， 〈丹麥家具藝術:40年，第4集: 1957-1966年〉 ，哥本哈根, 1987年, 第199頁

此型號曾於1962年9月21日至10月7日在哥本哈根丹麥藝術 與設計博物館〈哥本哈根細工木匠公會〉展出，展位編號7。

HK$ 40,000-60,000 US$ 5,100-7,700

Property from a Private Collection, Copenhagen, Denmark

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180. Ejner Larsen and Aksel Bender Madsen

丹麥哥本哈根私人收藏

艾納．拉森與阿克塞爾．本德．馬德森

1917-1987 and 1916-2000 Pair of side tables Brazilian rosewood, Brazilian rosewood-veneered wood Each: 40 x 30 x 30 cm (15 3/4 x 11 3/4 x 11 3/4 in.)

Executed by cabinetmaker Willy Beck, Copenhagen, Denmark.

Underside of both with manufacturer’s printed paper label PRODUCED BY/CABINET-MAKER/WILLY BECK/COPENHAGEN/DENMARK/ ARCHITECTS: A. BENDER MADSEN AND EJNER LARSEN and the other PRODUCED BY/CABINET-MAKER/WILLY BECK/COPENHAGEN/ DENMARK respectively. Produced circa 1955.

Literature Harris Lindsay, exh. cat., Modernism and Tradition, Danish Furniture 1920-1970, London, 2003, n.p.

HK$ 10,000-20,000 US$ 1,300-2,600

《茶几一對》 巴西黑黃檀木 巴西黑黃檀木飾面板 此作品約1955年由丹麥哥本哈根木匠名師 Willy Beck 製造。 款識：PRODUCED BY/CABINET-MAKER/WILLY BECK/ COPENHAGEN/DENMARK/ARCHITECTS: A. BENDER MADSEN AND EJNER LARSEN、PRODUCED BY/CABINETMAKER/WILLY BECK/COPENHAGEN/DENMARK (每件座椅底部) 出版 Harris Lindsay 著，展覽圖錄， 〈現代主義和傳統：丹麥家具，1920-1970年〉 ，2003年，無頁數

Property from a Private Collection, Copenhagen, Denmark

181. Ole Wanscher

1903-1985

丹麥哥本哈根私人收藏

奧萊．萬夏

Pair of armchairs, model no 1764 walnut, Niger leather Each: 89 x 65 x 60.5 cm (35 x 25 5/8 x 23 7/8 in.)

Manufactured by Fritz Hansen, Copenhagen, Denmark.

Underside of each with manufacturer’s paper label 2 / 9-45/1764 Antal 3 Or. 1226 and stamped FH. Designed 1943, produced 1945.

《扶手椅一對》型號 1764 胡桃木 尼日皮革 此作品1943年設計，並於1945年由丹麥哥本哈根 Fritz Hansen 製造。 製造商標籤2/9-45/1764 Antal 3 Or.1226 ，印FH (於每張座椅底部)

Literature FH Møbler, no. 5101, Copenhagen, 1951, p. 29 Andrew Hollingsworth, Danish Modern, Layton, 2008, pp. 72, 148

出版 〈FH 家具〉第5101集，哥本哈根，1951年，第29頁 Andrew Hollingsworth 著， 〈丹麥：現代〉Layton，2008年， 第72、148頁

HK$ 50,000-70,000 US$ 6,400-9,000

∑

182. Ole Wanscher

1903-1985

Pair of drop-leaf side tables, designed for the library of the Danish Institute of Science and Art, Rome Brazilian rosewood-veneered wood, Brazilian rosewood Each: 58 x 120 x 48 cm (22 7/8 x 47 1/4 x 18 7/8 in.) fully extended Executed by master cabinetmaker A. J. Iversen, Copenhagen, Denmark.

Produced circa 1967.

Provenance Private Collection, Copenhagen Literature Marianna Ibler, Kay Fisher and the Danish Academy in Rome, Aarhus, 2006, pp. 13, 40-42, 44 for similar examples Arne Karlsen, Danish Furniture Design: in the 20th Century, Volume 2, Copenhagen, 2007, p. 37 for similar examples

HK$ 40,000-60,000 US$ 5,100-7,700

奧萊．萬夏 《一對為羅馬丹麥科學與藝術學院圖書館設計之折疊桌》 巴西黑黃檀木飾面板 巴西黑黃檀木 此作品約1967年由丹麥哥本哈根木匠工藝大師 A. J. Iversen 製造。 來源 哥本哈根私人收藏 出版 Marianna Ibler 著， 〈凱·菲舍爾與羅馬丹麥學院〉 ， 阿爾陸斯，2006年，第13、40-42、44 (同系列作品) Arne Karlsen 著， 〈丹麥家具設計：20世紀，第2集〉 ， 哥本哈根，2007年，第37頁 (同系列作品)

183. Zhu Wei

b. 1966

China China (Painted Pottery Edition) aluminium and lacquer paint 121.9 x 86.4 cm. (47 7/8 x 34 in.)

Executed in 2008, this work is H.C. 1 from an edition of 9 plus 2 H.C. Provenance Private Collection, Asia Acquired from the above by the present owner

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

朱偉 《中國中國 (彩陶版)》 鋁漆 2008年作，共有9版及2版非賣版 H.C.， 此為非賣版 H.C. 第2版。 來源 亞洲私人收藏 現藏者購自上述來源

184. Liu Xiaodong

b. 1963

Green pub 2 signed and dated ‘Xiaodong [in Chinese] 13’ lower right acrylic on C-print image: 36 x 48 cm (14 1/8 x 18 7/8 in.) sheet: 40.5 x 50.5 cm. (15 7/8 x 19 7/8 in.)

Executed in 2013.

Provenance Lisson Gallery, London Acquired from the above by the present owner

劉小東 《綠色酒吧 2》 壓克力 彩印 2013年作 款識：小東 13 (右下) 來源 倫敦，里森畫廊 現藏者購自上述來源

HK$ 150,000-200,000 US$ 19,200-25,600

185. Jia Aili

b. 1979

The Memory of North Liucao Island I signed with the artist’s initials and numbered ‘JAL 41/88’ lower right digital print-inkjet over 305gsm Hahnemhüle 100% cotton paper 180.7 x 85.7 cm (71 1/8 x 33 3/4 in.)

Executed in 2018, this work is number 41 from an edition of 88, 10 artist’s proofs plus 2 printer’s proofs.

Provenance Fabien Fryns Fine Art, Beijing Acquired from the above by the present owner

HK$ 50,000-70,000 US$ 6,400-9,000

賈藹力 《The Memory of North Liucao Island I》 數位噴印 純棉藝術紙 2018年作，共有88版，並附10版藝術家試作版及2版版畫師版， 此為第41版。 款識：JAL 41/88 (右下) 來源 北京，Fabien Fryns Fine Art 現藏者購自上述來源

186. Keith Haring

1958-1990

KNOKKE Casino Poster signed ‘K. Haring’ vertical right felt pen on ofset lithograph poster 72 x 53 cm. (28 3/8 x 20 7/8 in.)

Executed in 1987, this work is accompanied with a certifcate of authenticity issued by the Galleria Grafca Tokio.

Provenance Collection of the family of Casino Knokke owner, Knokke Dreweatts & Bloomsbury, London, 3 July 2014, Lot 197 Galleria Grafca Tokio, Tokyo Acquired from the above by the present owner Literature Li Jiaqi, New Pop Artist: Keith Haring, Taipei, 2008, p. 86 (illustrated)

The present lot features an additional hand drawing by the artist in his one-man exhibition poster at Knokke Casino, Belgium in 1987.

HK$ 50,000-70,000 US$ 6,400-9,000

凱斯·哈林 《克諾克賭場海報》 簽字筆 膠版印刷海報 1987年作，並附Grafca Tokio畫廊之保證書。 款識：K. Haring (直簽於右) 來源 克諾克，克諾克賭場業主家屬收藏 倫敦，Dreweatts & Bloomsbury，2014年7月3日，拍品編號197 東京，Grafca Tokio 畫廊 現藏者購自上述來源 出版 李家祺， 《新普普藝術家:凱斯·哈林》 ，台北，2008年，第86頁（圖版）

此作為藝術家於其1987年在比利時克諾克賭場所舉行之 個展海報上之手繪創作。

Courtesy of Pest Control Ofce

187. Banksy

b. 1975

No Ball Games (Green) signed ‘Banksy’ lower right screen print on paper 66.5 x 69.5 cm. (26 1/8 x 27 3/8 in.)

Executed in 2009, this work is number 150 from an edition of 250 and is accompanied by a certifcate of authenticity issued by Pest Control.

Provenance Pictures on Walls, London Acquired from the above by the present owner in 2009

HK$ 250,000-350,000 US$ 32,100-44,900

班克斯 《禁止球類活動（綠色）》 絲網版畫 紙本 2009年作，共有250版，此作為第150版， 並附Pest Control工作室之保證書。 款識：Banksy (右下) 來源 倫敦，Pictures on Walls 現藏者於2009年購自上述來源

188. Yoshitomo Nara

b. 1959

(i) Fuckin’ Politics; (ii) I Am Alone each signed, numbered and dated ‘18/75 Yoshitomo Nara 2003’ lower right and lef respectively lithograph (i) 49 x 39.5 cm. (19 1/4 x 15 1/ 2 in.) (ii) 49 x 39.5 cm. (19 1/4 x 15 1/ 2 in.)

Executed in 2003, these works are number 18 from an edition of 75.

Provenance Marianne Boesky Gallery, New York Private Collection, Sydney Shapiro Auction, Sydney, 27 August 2018, Lot 38 and 39 Acquired at the above sale by the present owner © Yoshitomo Nara

奈良美智 (i)《去他的政治》; (ii)《我很孤單》 石版畫 2003年作，共有75版，此套作品為第18版。 款識：18/75 Yoshitomo Nara 2003 (每張右與左下) 來源 紐約，Marianne Boesky 畫廊 悉尼私人收藏 悉尼，Shapiro，2018年8月27日，拍品編號38及39 現藏者購自上述拍賣 HK$ 250,000-350,000 US$ 32,100-44,900

189. Takashi Murakami

b. 1962

Two works: (i) And Then Gold; (ii) And Then White & Black each signed, numbered and dated ‘Takashi Murakami 05 30/50’ lower right (i) silkscreen with gold leaf (ii) silkscreen with patina leaf each 52 x 52 cm. (20 1/ 2 x 20 1/ 2 in.)

Executed in 2005, these works are number 30 from an edition of 50 Provenance Tomio Koyama Gallery, Tokyo Acquired from the above by the present owner © 2005 Takashi Murakami/Kaikai Kiki Co. Ltd. All Rights Reserved

村上隆 兩件作品: (i)《And Then Gold》; (ii)《And Then White & Black》 (i) 金箔 絲網版畫 (ii) 銀箔 絲網版畫 2005年作，共有50版，此為第30版。 款識：Takashi Murakami 05 30/50 (右下) 來源 東京，小山登美夫畫廊 現藏者購自上述來源 HK$ 150,000-250,000 US$ 19,200-32,100

190. Yayoi Kusama

b. 1929

Lemon Juice (Lemon Squash) signed, titled, numbered and dated ‘91/100 “Lemon Squash [in Japanese] 1984 Yayoi Kusama’ along bottom edge screenprint image: 52.9 x 44.8 cm. (20 5/8 x 17 3/4 in.) paper: 61 x 53.5 cm. (24 x 21 1/8 in.)

Executed in 1984, this work is number 91 from an edition of 100.

Provenance Gallery Baihodo, Asahikawa Acquired from the above by the present owner

草間彌生 《檸檬汁》(《檸檬雜飲》) 絲網版畫 1984年作，共有100版，此為第91版。 款識：91/100《檸檬雜飲》1984 Yayoi Kusama (於下邊緣) 來源 旭川，Baihodo 畫廊 現藏者購自上述來源 HK$ 60,000-80,000 US$ 7,700-10,300

© YAYOI KUSAMA

Property from an Important European Collection

191. Yayoi Kusama

b. 1929

Five Works: Pumpkin each signed, dated and numbered ‘Yayoi Kusama 2002 82/130’ on the underside glazed porcelain each 9 x 8 x 7 cm. (3 1/ 2 x 3 1/8 x 2 3/4 in.)

Executed in 2002, these works are number 82 from an edition of 130, published by FMR Trading, Hirakata and authenticated by FMR Limited.

Provenance Fabian & Claude Walter Galerie, Zurich Acquired from the above by the current owner

重要歐洲私人收藏

草間彌生 《五件作品：南瓜》 釉瓷 2002年作，共有130版，此為第82版，由平田村 FMR Trading 出版， 並經該公司確認作品真僞。 款識：Yayoi Kusama 2002 82/130 (每件作品底部) 來源 蘇黎世，Fabian & Claude Walter 畫廊 現藏者購自上述來源 HK$ 160,000-260,000 US$ 20,500-33,300

© YAYOI KUSAMA

192. Max Ingrand

1908-1969

‘Dahlia’ ceiling light coloured glass, glass, brass 163 cm. (64 1/8 in.) high, 46 cm. (18 1/8 in.) diameter Manufactured by Fontana Arte, Milan, Italy. Produced circa 1955.

Provenance Private Collection, London Literature Roberto Aloi, Esempi Di Decorazione Moderna Di Tutto Il Mondo, Illuminazione d’oggi, Milan, 1956, p. 159 ‘Nuovi negozi di vetri e di cristalli d’arte’, Vitrum, no. 100, February 1958, pp. 40-41 Andrea Branzi and Michele De Lucchi, eds., Il Design Italiano Degli Anni ’50, Milan, 1985, p. 231 Franco Deboni, Fontana Arte: Gio Ponti, Pietro Chiesa, Max Ingrand, Turin, 2012, fg. 307 for a larger version

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

馬克斯．英格蘭 《天竺牡丹》吊燈 彩色玻璃 玻璃 銅 此作品約1955年由意大利米蘭 Fontana Arte 製造。 來源 倫敦私人收藏 出版 Roberto Aloi著， 〈示例: 現代裝飾、全球、當今的燈飾裝置〉 ， 米蘭，1956年，第159頁 〈新玻璃和玻璃藝術商店〉 ，Vitrum 雜誌，第100集，1958年2月，第40-41頁 Andrea Branzi 及 Michele De Lucchi 編， 《50年代意大利設計》 ， 米蘭，1985年，第231 Franco Deboni 著， 〈豐塔納藝術: 吉奧·蓬蒂、彼得洛·基耶薩、 馬克斯·英格蘭〉，都靈，2012年，圖版307 (大版本)

∑

193. Paolo Bufa

1903-1970

Drinks cabinet East Indian rosewood-veneered wood, walnut-veneered wood, brass, glass 126 x 125 x 40 cm. (49 5/8 x 49 1/4 x 15 3/4 in.)

Together with a certifcate of expertise from the Paolo Bufa Archive.

Produced by cabinetmaker Mario Quarti Milan. Designed 1938.

Provenance Private Collection, Italy, acquired 1950s Thence by descent Literature Roberto Aloi, L’Arredamento Moderno, terza serie, Milan, 1947, fg. 341 Irene de Guttry and Maria Paola Maino, Il mobile déco italiano, Bari, 1988, p. 105 Irene de Guttry and Maria Paola Maino, Il Mobile Italiano Degli Anni ‘40 e ‘50, Bari, 1992, p. 117

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

保羅．布法 《飲料櫃》 東印度巴西黑黃檀木飾面板 胡桃木飾面板 黃銅 玻璃 此作品於1938年設計，並由米蘭木匠名師馬里奧·誇提製造， 並附保羅·布法檔案機構之保證書。 來源 意大利私人收藏 (於1950年代購得) 現由上述藏家家屬繼承作品 出版 Roberto Aloi 著， 〈現代家具〉 ，米蘭，1947年，圖版341 Irene de Guttry 與 Maria Paola Maino 著， 〈意大利裝飾家具〉 ，巴里，1988年，第105頁 Irene de Guttry 與 Maria Paola Maino 著， 〈40、50年代的意大利家具〉 ，巴里，1992年，第117頁

194. KAWS

b. 1974

Ten Works: NO REPLY each signed, dated and numbered ‘49/100 KAWS.. 15’ lower lef and lower right respectively screenprint each 88.9 x 58.4 cm. (35 x 22 7/8 in.)

Executed in 2015, these works are number 49 from an edition of 100, and is accompanied by its original blue fabric-covered portfolio with embossed title.

Provenance Delahunty Fine Art, London Acquired from the above by the present owner

KAWS

十件作品：

《沒回覆》 絲網版畫 2015年作，共有100版，此為第49版，並附原始藍色 布質精裝盒，盒上有藝術家及作品名稱壓印。 款識：49/100 KAWS.. 15 (每件左及右下) 來源 倫敦，Delahunty Fine Art 現藏者購自上述來源

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

195. KAWS

b. 1974

Ten Works: BLAME GAME each signed, dated and numbered ‘39/100 KAWS.. 14’ lower lef and lower right respectively screenprint each 88.8 x 58.4 cm. (34 7/8 x 22 7/8 in.)

Executed in 2014, these works are number 39 from an edition of 100, and is accompanied by its original grey fabric-covered portfolio with embossed title.

Provenance Private Collection, New York Acquired from the above by the present owner

KAWS 《十件作品:責備遊戲》 絲網版畫 2014年作，共有100版，此為第39版，並附原始灰色 布質精裝盒，盒上有藝術家及作品名稱壓印。 款識：39/100 KAWS.. 14 (每件左及右下) 來源 紐約私人收藏 現藏者購自上述來源

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

196. KAWS

b. 1974

197. KAWS

b. 1974

DISSECTED COMPANION (BLACK) stamped with the artist’s name and date ‘© KAWS..06’ on the underside of the fgure’s lef foot; further stamped with the date and fabricator ‘MEDICOM TOY 2006 CHINA’ on the underside of the fgure’s right foot painted cast vinyl 37 x 16.5 x 11.5 cm. (14 5/8 x 6 1/ 2 x 4 1/ 2 in.)

Executed in 2006, this work is from an open edition.

DISSECTED COMPANION (BROWN) stamped with the artist’s name and date ‘© KAWS..06’ on the underside of the fgure’s lef foot; further stamped with the date and fabricator ‘MEDICOM TOY 2006 CHINA’ on the underside of the fgure’s right foot painted cast vinyl 37 x 16.5 x 11.5 cm. (14 5/8 x 6 1/ 2 x 4 1/ 2 in.)

Executed in 2006, this work is from an open edition.

Provenance Private Collection, USA

Provenance Private Collection, USA

KAWS

KAWS

《解剖同伴 (黑色)》 纖維強化塑膠 2006年作，此為無版次作品。 款識：© KAWS..06 (同伴左腳底部)、 MEDICOM TOY 2006 CHINA (同伴右腳底部)

《解剖同伴 (棕色)》 纖維強化塑膠 2006年作，此為無版次作品。 款識：© KAWS..06 (同伴左腳底部)、 MEDICOM TOY 2006 CHINA (同伴右腳底部)

來源 美國私人收藏

來源 美國私人收藏

HK$ 8,000-12,000 US$ 1,000-1,500

HK$ 8,000-12,000 US$ 1,000-1,500

198.

KAWS

b. 1974

DISSECTED COMPANION (GREY) stamped with the artist’s name and date ‘© KAWS..06’ on the underside of the fgure’s lef foot; further stamped with the date and fabricator ‘MEDICOM TOY 2006 CHINA’ on the underside of the fgure’s right foot painted cast vinyl 37 x 16.5 x 11.5 cm. (14 5/8 x 6 1/ 2 x 4 1/ 2 in.)

Executed in 2006, this work is from an open edition.

Provenance Private Collection, USA

HK$ 8,000-12,000 US$ 1,000-1,500

KAWS 《解剖同伴 (灰色)》 纖維強化塑膠 2006年作，此為無版次作品。 款識：© KAWS..06 (同伴左腳底部)、 MEDICOM TOY 2006 CHINA (同伴右腳底部) 來源 美國私人收藏

199. KAWS x Hajime Sorayama

b. 1974 & b. 1947

NO FUTURE COMPANION (Black Chrome) signed and numbered ‘KAWS..Sorayama 157/500’ on a metal OriginalFake label on the underside black chrome coated metal 31.5 x 21.2 x 19.6 cm. (12 3/8 x 8 3/8 x 7 3/4 in.)

Executed in 2008, this work is number 157 from an edition of 500.

Provenance KAWSONE.com Acquired directly from the above by the present owner Literature Monica Ramirez-Montagut, KAWS 1993-2010, New York, 2010, p. 234, (another example illustrated)

HK$ 40,000-60,000 US$ 5,100-7,700

KAWS x 空山基 《沒有未來的伴侶（黑鉻）》 鍍黑鉻 金屬 2008年作，共有500版，此為第157版。 款識：KAWS..Sorayama 157/500 (底部鐵 OriginalFake 標籤） 來源 KAWSONE.com 現藏者購自上述來源 出版 Monica Ramirez-Montagut著， 〈KAWS 1993-2010〉，紐約，2010年，第234頁（同系列作品圖版）

200. KAWS x Hajime Sorayama

b. 1974 & b. 1947

NO FUTURE COMPANION (Silver Chrome) signed and numbered ‘KAWS..Sorayama 124/500’ on a metal OriginalFake label on the underside silver chrome coated metal 31.5 x 21.2 x 19.6 cm. (12 3/8 x 8 3/8 x 7 3/4 in.)

Executed in 2008, this work is number 124 from an edition of 500.

Provenance OriginalFake, Tokyo Private Collection SBI Art Auction Co., Ltd., Tokyo, 15 July 2017, Lot 291 Acquired at the above sale by the present owner Literature Monica Ramirez-Montagut, KAWS 1993-2010, New York, 2010, p. 234, (another example illustrated)

HK$ 40,000-60,000 US$ 5,100-7,700

KAWS x 空山基 《沒有未來的伴侶（銀鉻）》 鍍銀鉻 金屬 2008年作，共有500版，此為第124版。 款識：KAWS..Sorayama 124/500 (底部鐵 OriginalFake 標籤） 來源 東京，OriginalFake 私人收藏 東京，SBI藝術拍賣株式會社，2017年7月15日，拍品編號291 現藏者購自上述拍賣 出版 Monica Ramirez-Montagut著， 〈KAWS 1993-2010〉 ，紐約， 2010年，第234頁（同系列作品圖版）

201. KAWS

b. 1974

COMPANION (KARIMOKU) signed and numbered ‘KAWS..48/100’ on the underside wood 27.4 x 12.7 x 6.5 cm. (10 3/4 x 5 x 2 1/ 2 in.)

Executed in 2011, this work is number 48 from an edition of 100.

Provenance Private Collection, Tokyo Acquired from the above by the present owner

HK$ 120,000-180,000 US$ 15,400-23,100

KAWS 同伴（KARIMOKU版本） 木頭 2011年作，共有100版，此為第48版。 款識：KAWS.. 48/100 (底部) 來源 東京私人收藏 現藏者購自上述來源

202. KAWS

b. 1974

FOUR FOOT DISSECTED COMPANION (BLACK) stamped with the artist’s name and date ‘© KAWS..09’ on the underside of the fgure’s right foot; further stamped with the date and fabricator ‘MEDICOM TOY 2009 MADE IN CHINA’ on the underside of the fgure’s lef foot painted cast vinyl 128.2 x 57 x 35 cm. (50 1/ 2 x 22 1/ 2 x 13 3/4 in.)

Executed in 2009, this work is from an edition of 100.

Provenance Toy Tokyo, New York Acquired from the above by the present owner

KAWS 《四尺解剖同伴 (黑色)》 纖維強化塑膠 2009年作 ，共有100版。 款識：© KAWS..09 (同伴右腳底部)、 MEDICOM TOY 2009 MADE IN CHINA (同伴左腳底部) 來源 紐約，Toy Tokyo 現藏者購自上述來源

HK$ 250,000-350,000 US$ 32,100-44,900

203. KAWS

b. 1974

FOUR FOOT DISSECTED COMPANION (BROWN) stamped with the artist’s name and date ‘© KAWS..09’ on the underside of the fgure’s right foot; further stamped with the date and fabricator ‘MEDICOM TOY 2009 MADE IN CHINA’ on the underside of the fgure’s lef foot painted cast vinyl 128.2 x 57 x 35 cm. (50 1/ 2 x 22 1/ 2 x 13 3/4 in.)

Executed in 2009, this work is from an edition of 100.

Provenance Toy Tokyo, New York Acquired from the above by the present owner

KAWS 《四尺解剖同伴 (棕色)》 纖維強化塑膠 2009年作 ，共有100版。 款識：© KAWS..09 (同伴右腳底部)、 MEDICOM TOY 2009 MADE IN CHINA (同伴左腳底部) 來源 紐約，Toy Tokyo 現藏者購自上述來源

HK$ 250,000-350,000 US$ 32,100-44,900

204. KAWS

b. 1974

FOUR FOOT COMPANION (BROWN) stamped with the artist’s name and date ‘© KAWS..07’ on the underside of the fgure’s right foot; further stamped with the date and fabricator ‘MEDICOM TOY 2007 MADE IN CHINA’ on the underside of the fgure’s lef foot painted cast vinyl 128.2 x 57 x 35 cm. (50 1/ 2 x 22 1/ 2 x 13 3/4 in.)

Executed in 2007, this work is from an edition of 100.

Provenance Private Collection, USA

KAWS 《四尺同伴 (棕色)》 纖維強化塑膠 2007年作 ，共有100版。 款識：© KAWS..07 (同伴右腳底部)、 MEDICOM TOY 2007 MADE IN CHINA (同伴左腳底部) 來源 美國私人收藏

HK$ 250,000-350,000 US$ 32,100-44,900

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

Conditions of Sale The Conditions of Sale and Authorship Warranty which appear later in this catalogue govern the auction. Bidders are strongly encouraged to read them as they outline the legal relationship among Phillips, the seller and the buyer and describe the terms upon which property is bought at auction. Please be advised that Phillips generally acts as agent for the seller. Bidders should also read the Important Notices immediately following this Guide for Prospective Buyers.

Buyer’s Premium Phillips charges the successful bidder a commission, or buyer’s premium, on the hammer price of each lot sold.

The buyer’s premium is payable by the buyer as part of the total purchase price at the following rates: 25% of the hammer price up to and including HK$3,000,000, 20% of the portion of the hammer price above HK$3,000,000 up to and including HK$30,000,000 and 13.5% of the portion of the hammer price above HK$30,000,000.

The purchase price payable for any lot is the sum of the hammer price plus the buyer’s premium plus any applicable taxes and charges.

1 Prior to Auction Catalogue Subscriptions If you would like to purchase a catalogue for this auction or any other Phillips sale, please contact us at +852 2318 2000, +41 22 317 8181, +44 20 7318 4010 or +1 212 940 1240.

Pre-Sale Estimates Pre-sale estimates are intended as a guide for prospective buyers. Any bid within the high and low estimate range should, in our opinion, ofer a chance of success. However, many lots achieve prices below or above the pre-sale estimates. Where ‘Estimate upon Request’ appears, please contact the specialist department for further information.

It is advisable to contact us closer to the time of the auction as estimates can be subject to revision. Pre-sale estimates do not include the buyer’s premium or any applicable taxes.

Pre-Sale Estimates in US Dollars and Euros Although the sale is conducted in Hong Kong dollars, the pre-sale estimates in the auction catalogues may also be printed in US dollars and/or euros. Since the exchange rate is that at the time of catalogue production and not at the date of auction, you should treat estimates in US dollars or euros as a guide only.

Catalogue Entries Phillips may print in the catalogue entry the history of ownership of the property, as well as the exhibition history and references to the work in art publications. While we are careful in the cataloguing process, provenance, exhibition and literature references may not be exhaustive and in some cases we may intentionally refrain from disclosing the

identity of previous owners. Please note that all dimensions of the property set forth in the catalogue entry are approximate.

Condition of Lots Our catalogues include references to condition only in the descriptions of multiple works (e.g., prints). Such references, though, do not amount to a full description of condition. The absence of reference to the condition of a lot in the catalogue entry does not imply that the lot is free from faults or imperfections. Solely as a convenience to clients, Phillips may provide condition reports. In preparing such reports, our specialists assess the condition in a manner appropriate to the estimated value of the property. While condition reports are prepared honestly and carefully, our staf are not professional restorers or trained conservators. We therefore encourage all prospective buyers to inspect the property at the pre-sale exhibitions and recommend, particularly in the case of any lot of signifcant value, that you retain your own restorer or professional advisor to report to you on the property’s condition prior to bidding. Any prospective buyer of photographs or prints should always request a condition report because all such property is sold unframed, unless otherwise indicated in the condition report. If a lot is sold framed, Phillips accepts no liability for the condition of the frame. If we sell any lot unframed, we will be pleased to refer the purchaser to a professional framer.

Pre-Auction Viewing Pre-auction viewings are open to the public and free of charge. Our specialists are available to give advice and condition reports at viewings or by appointment.

Electrical and Mechanical Lots All lots with electrical and/or mechanical features are sold on the basis of their decorative value only and should not be assumed to be operative. It is essential that, prior to any intended use, the electrical system is verifed and approved by a qualifed electrician.

Deposit If you wish to bid on a lot designated with the symbol * (a “Premium Lot”), Phillips may require you to pay a deposit of HK$2,000,000 or such higher amount as Phillips in our sole discretion deems appropriate and to provide such fnancial references, guarantees and/or other security as Phillips may require in our sole discretion as security for the bid. Phillips will also require you to complete the Premium Lot pre-registration prior to the date of the auction at which the Premium Lot will be ofered for sale. Upon our receipt of the deposit and a completed pre-registration form, Phillips will provide you with a numbered Premium Lot paddle for identifcation purposes. The auctioneer will usually only accept bids on Premium Lots made with the Premium Lot paddle or by its registered bidder. This applies to saleroom, telephone and absentee bids. Payment of the deposit may be made by wire transfer or credit card acceptable to Phillips for the prospective purchase. If you are not the successful bidder on a Premium Lot and do not owe Phillips or any of our afliated companies any debt, the deposit will be refunded to you by wire transfer (in the same currency in which you paid the deposit) or credit card

refund, as the case may be, the refund will be processed within seven days afer the date of the auction.

Symbol Key The following key explains the symbols you may see inside this catalogue.

O Guaranteed Property Lots designated with the symbol O are the subject of a minimum price guarantee. In such cases Phillips has guaranteed to the seller of the lot that regardless of the outcome of the sale the seller shall receive no less than a minimum sum. This guarantee may be provided solely by Phillips or jointly with a third party. ♦ Third Party Guarantee Where Phillips has agreed to a minimum price guarantee it assumes the fnancial risk of a lot failing to sell or selling for less than the minimum price guarantee. Because the sums involved can be signifcant Phillips may choose to share the burden of that fnancial risk with a third party. The third party shares the risk by committing in advance of the sale, usually by way of a written bid, to buy the lot for an agreed amount whether or not there are competing bidders for the lot. 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

regarding export or import and which may require permits for export as well as import. Please refer to Paragraph 4 of the Guide for Prospective Buyers and Paragraph 11 of the Conditions of Sale. * Premium Lots Lots with this symbol carry a low pre-sale estimate of HK$8,000,000 or more and are referred to by Phillips as Premium Lots. Prospective buyers who wish to bid on Premium Lots must complete the pre-registration form and pay the Premium Lot deposit, as described more fully in this Paragraph 1 of the Guide for Prospective Buyers. ▼ Restricted Importation Lots with this symbol may be subject to importation restriction in the US. Please refer to the Important Notices which appear in this catalogue immediately following this Guide for Prospective Buyers.

2 Bidding in the Sale Bidding at Auction Bids may be executed during the auction in person by paddle, by telephone, online or prior to the sale in writing by absentee bid. Proof of identity in the form of government-issued identifcation may be required, as may an original signature. We may also require that you furnish us with a bank reference.

Bidding in Person To bid in person, you will need to register for and collect a paddle before the auction begins. New clients are encouraged to register at least 48 hours in advance of a sale to allow sufcient time for us to process your information. All lots sold will be invoiced to the name and address to which the paddle has been registered and invoices cannot be transferred to other names and addresses. Please do not misplace your paddle. In the event you lose it, inform a Phillips staf member immediately. At the end of the auction, please return your paddle to the registration desk.

Bidding by Telephone If you cannot attend the auction, you may bid live on the telephone with one of our multilingual staf members.

This service must be arranged at least 24 hours in advance of the sale and is available for lots whose low pre-sale estimate is at least HK$8,000. Telephone bids may be recorded. By bidding on the telephone, you consent to the recording of your conversation. We suggest that you leave a maximum bid, excluding the buyer’s premium, which we can execute on your behalf in the event we are unable to reach you by telephone. To arrange a telephone bid please contact the Hong Kong bids department at +852 2318 2029.

Online Bidding If you cannot attend the auction in person, you may bid online on our online live bidding platform available on our website at www.phillips.com.The digital saleroom is optimized to run on Google Chrome, Firefox, Opera and Internet Explorer browsers. Clients who wish to run the platform on Safari will need to install Adobe Flash Player.

Follow the links to ‘Auctions’ and ‘Digital Saleroom’ and then pre-register by clicking on ‘Register to Bid Live.’ The frst time you register you will be required to create an account; thereafer you will only need to register for each sale. You must pre-register at least 24 hours before the start of the auction in order to be approved by our bid department. Please note that corporate frewalls may cause difculties for online bidders.

Absentee Bids If you are unable to attend the auction and cannot participate by telephone, Phillips will be happy to execute written bids on your behalf. A bidding form can be found at the back of this catalogue. This service is free and confdential. Bids must be placed in the currency of the sale. Our staf will attempt to execute an absentee bid at the lowest possible price taking into account the reserve and other bidders. Always indicate a maximum bid, excluding the buyer’s premium. Unlimited bids will not be accepted. Any absentee bid must be received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid received will take precedence.

Employee Bidding Employees of Phillips and our afliated companies, including the auctioneer, may bid at the auction by placing absentee bids so long as they do not know the reserve when submitting their absentee bids and otherwise comply with our employee bidding procedures.

Bidding Increments Bidding generally opens below the low estimate and advances in increments of up to 10%, subject to the Auctioneer’s discretion. Absentee bids that do not conform to the increments set below may be lowered to the next bidding increment.

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

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

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

3 The Auction As noted above, the auction is governed by the Conditions of Sale and Authorship Warranty. All prospective bidders should read them carefully. They may be amended by saleroom addendum or auctioneer’s announcement.

Interested Parties Announcement In situations where a person allowed to bid on a lot has a direct or indirect interest in such lot, such as the benefciary or executor of an estate selling the lot, a joint owner of the lot or a party providing or participating in a guarantee on the lot, Phillips will make an announcement in the saleroom that interested parties may bid on the lot.

Consecutive and Responsive Bidding; No Reserve Lots The auctioneer may open the bidding on any lot by placing a bid on behalf of the seller. The auctioneer may further bid on behalf of the seller up to the amount of the reserve by placing consecutive bids or bids in response to other bidders. If a lot is ofered without reserve, unless there are already competing absentee bids, the auctioneer will generally open the bidding at 50% of the lot’s low pre-sale estimate. In the absence of a bid at that level, the auctioneer will proceed backwards at his or her discretion until a bid is recognized and will then advance the bidding from that amount. Absentee bids on no reserve lots will, in the absence of a higher bid, be executed at approximately 50% of the low pre-sale estimate or at the amount of the bid if it is less than 50% of the low pre-sale estimate.

If there is no bid whatsoever on a no reserve lot, the auctioneer may deem such lot unsold.

4 After the Auction Payment Buyers are required to pay for purchases immediately following the auction unless other arrangements have been agreed with Phillips in writing in advance of the sale.

Payment must be made in Hong Kong dollars by wire transfer, as noted in Paragraph 6 of the Conditions of Sale.

Cash and cheques are not accepted.

Credit Cards As a courtesy to clients, Phillips accepts payment by credit card up to HK$800,000. A processing fee will apply. For details on credit card payment please contact the Client Services department at +852 2318 2000.

Collection It is our policy to request proof of identity on collection of a lot. A lot will be released to the buyer or the buyer’s authorized representative when Phillips has received full and cleared payment and we are not owed any other amount by the buyer. Afer the auction, all lots will be stored externally, please call our shipping department on +852 2318 2000 prior to arranging collection. We will levy removal, interest, storage and handling charges on uncollected lots.

Important Notices Loss or Damage Buyers are reminded that Phillips accepts liability for loss or damage to lots for a maximum of seven days following the auction.

Transport and Shipping As a free service for buyers, Phillips will wrap purchased lots for hand carry only. We do not provide packing, handling or shipping services directly. However, we will coordinate with shipping agents instructed by you in order to facilitate the packing, handling and shipping of property purchased at Phillips. Please refer to Paragraph 7 of the Conditions of Sale for more information.

Export and Import Licences Before bidding for any property, prospective bidders are advised to make independent enquiries as to whether a licence is required to export the property from Hong Kong or to import it into another country. It is the buyer’s sole responsibility to comply with all import and export laws and to obtain any necessary licences or permits. The denial of any required licence or permit or any delay in obtaining such documentation will not justify the cancellation of the sale or any delay in making full payment for the lot.

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

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

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

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

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

1 Introduction Each lot in this catalogue is ofered for sale and sold subject to: (a) the Conditions of Sale and Authorship Warranty; (b) additional notices and terms printed in other places in this catalogue, including the Guide for Prospective Buyers and Important Notices and (c) supplements to this catalogue or other written material posted by Phillips in the saleroom, in each case as amended by any addendum or announcement by the auctioneer prior to the auction.

By bidding at the auction, whether in person, through an agent, by written bid, by telephone bid or other means, bidders and buyers agree to be bound by these Conditions of Sale, as so changed or supplemented, and Authorship Warranty.

These Conditions of Sale, as so changed or supplemented, and Authorship Warranty contain all the terms on which Phillips and the seller contract with the buyer.

2 Phillips as Agent Phillips acts as an agent for the seller, unless otherwise indicated in this catalogue or at the time of auction. On occasion, Phillips may own a lot directly, in which case we will act in a principal capacity as a consignor, or a company afliated with Phillips may own a lot, in which case we will act as agent for that company, or Phillips or an afliated company may have a legal, benefcial or fnancial interest in a lot as a secured creditor or otherwise.

3 Catalogue Descriptions and Condition of Property Lots are sold subject to the Authorship Warranty, as described in the catalogue (unless such description is changed or supplemented, as provided in Paragraph 1 above) and in the condition that they are in at the time of the sale on the following basis.

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

(b) Each lot ofered for sale at Phillips is available for inspection by prospective buyers prior to the auction.

Phillips accepts bids on lots on the basis that bidders (and independent experts on their behalf, to the extent appropriate given the nature and value of the lot and the bidder’s own expertise) have fully inspected the lot prior to bidding and have satisfed themselves as to both the condition of the lot and the accuracy of its description. (c) Prospective buyers acknowledge that many lots are of an age and type which means that they are not in perfect condition. As a courtesy to clients, Phillips may prepare and provide condition reports to assist prospective buyers when they are inspecting lots. Catalogue descriptions and condition reports may make reference to particular imperfections of a lot, but bidders should note that lots may have other faults not expressly referred to in the catalogue or condition report. All dimensions are approximate. Illustrations are for identifcation purposes only and cannot be used as precise indications of size or to convey full information as to the actual condition of lots. (d) Information provided to prospective buyers in respect of any lot, including any pre-sale estimate, whether written or oral, and information in any catalogue, condition or other report, commentary or valuation, is not a representation of fact but rather a statement of opinion held by Phillips. Any pre-sale estimate may not be relied on as a prediction of the selling price or value of the lot and may be revised from time to time by Phillips at our absolute discretion. Neither Phillips nor any of our afliated companies shall be liable for any diference between the pre-sale estimates for any lot and the actual price achieved at auction or upon resale.

4 Bidding at Auction (a) Phillips has absolute discretion to refuse admission to the auction or participation in the sale. All bidders must register for a paddle prior to bidding, supplying such information and references as required by Phillips. (b) As a convenience to bidders who cannot attend the auction in person, Phillips may, if so instructed by the bidder, execute written absentee bids on a bidder’s behalf. Absentee bidders are required to submit bids on the ‘Absentee Bid Form’, a copy of which is printed in this catalogue or otherwise available from Phillips. Bids must be placed in the currency of the sale. The bidder must clearly indicate the maximum amount he or she intends to bid, excluding the buyer’s premium. The auctioneer will not accept an instruction to execute an absentee bid which does not indicate such maximum bid. Our staf will attempt to execute an absentee bid at the lowest possible price taking into account the reserve and other bidders. Any absentee bid must be received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid received will take precedence. (c) Telephone bidders are required to submit bids on the ‘Telephone Bid Form’, a copy of which is printed in this catalogue or otherwise available from Phillips. Telephone bidding is available for lots whose low pre-sale estimate is at least HK$8,000. Phillips reserves the right to require written confrmation of a successful bid from a telephone

bidder by fax or otherwise immediately afer such bid is accepted by the auctioneer. Telephone bids may be recorded and, by bidding on the telephone, a bidder consents to the recording of the conversation. (d) Bidders may participate in an auction by bidding online through Phillips’s online live bidding platform available on our website at www.phillips.com. To bid online, bidders must register online at least 24 hours before the start of the auction. Online bidding is subject to approval by Phillips’s bid department in our sole discretion. As noted in Paragraph 3 above, Phillips encourages online bidders to inspect prior to the auction any lot(s) on which they may bid, and condition reports are available upon request.

Bidding in a live auction can progress quickly. To ensure that online bidders are not placed at a disadvantage when bidding against bidders in the room or on the telephone, the procedure for placing bids through Phillips’s online bidding platform is a one-step process. By clicking the bid button on the computer screen, a bidder submits a bid. Online bidders acknowledge and agree that bids so submitted are fnal and may not under any circumstances be amended or retracted. During a live auction, when bids other than online bids are placed, they will be displayed on the online bidder’s computer screen as ‘foor’ bids.

‘Floor’ bids include bids made by the auctioneer to protect the reserve. In the event that an online bid and a ‘foor’ or ‘phone’ bid are identical, the ‘foor’ bid may take precedence at the auctioneer’s discretion. The next bidding increment is shown for the convenience of online bidders in the bid button. The bidding increment available to online bidders may vary from the next bid actually taken by the auctioneer, as the auctioneer may deviate from Phillips’s standard increments at any time at his or her discretion, but an online bidder may only place a bid in a whole bidding increment. Phillips’s bidding increments are published in the Guide for Prospective Buyers. (e) When making a bid, whether in person, by absentee bid, on the telephone or online, a bidder accepts personal liability to pay the purchase price, as described more fully in Paragraph 6 (a) below, plus all other applicable charges 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.

(h) Employees of Phillips and our afliated companies, including the auctioneer, may bid at the auction by placing absentee bids so long as they do not know the reserve when submitting their absentee bids and otherwise comply with our employee bidding procedures.

5 Conduct of the Auction (a) Unless otherwise indicated by the symbol •, each lot is ofered subject to a reserve, which is the confdential minimum selling price agreed by Phillips with the seller.

The reserve will not exceed the low pre-sale estimate at the time of the auction. (b) The auctioneer has discretion at any time to refuse any bid, withdraw any lot, re-ofer a lot for sale (including afer the fall of the hammer) if he or she believes there may be error or dispute and take such other action as he or she deems reasonably appropriate. Phillips shall have no liability whatsoever for any such action taken by the auctioneer. If any dispute arises afer the sale, our sale record is conclusive. The auctioneer may accept bids made by a company afliated with Phillips provided that the bidder does not know the reserve placed on the lot. (c) The auctioneer will commence and advance the bidding at levels and in increments he or she considers appropriate.

In order to protect the reserve on any lot, the auctioneer may place one or more bids on behalf of the seller up to the reserve without indicating he or she is doing so, either by placing consecutive bids or bids in response to other bidders. If a lot is ofered without reserve, unless there are already competing absentee bids, the auctioneer will generally open the bidding at 50% of the lot’s low pre-sale estimate. In the absence of a bid at that level, the auctioneer will proceed backwards at his or her discretion until a bid is recognized and will then advance the bidding from that amount. Absentee bids on no reserve lots will, in the absence of a higher bid, be executed at approximately 50% of the low pre-sale estimate or at the amount of the bid if it is less than 50% of the low pre-sale estimate.

If there is no bid whatsoever on a no reserve lot, the auctioneer may deem such lot unsold. (d) The sale will be conducted in Hong Kong dollars and payment is due in Hong Kong dollars. For the beneft of international clients, pre-sale estimates in the auction catalogue may be shown in US dollars and/or euros and, if so, will refect approximate exchange rates. Accordingly, estimates in US dollars or euros should be treated only as a guide. If a currency converter is operated during the sale, it is done so as a courtesy to bidders, but Phillips accepts no responsibility for any errors in currency conversion calculation. (e) Subject to the auctioneer’s reasonable discretion, the highest bidder accepted by the auctioneer will be the buyer and the striking of the hammer marks the acceptance of the highest bid and the conclusion of a contract for sale between the seller and the buyer. Risk and responsibility for the lot passes to the buyer as set forth in Paragraph 7 below.

(f) If a lot is not sold, the auctioneer will announce that it has been ‘passed’, ‘withdrawn’, ‘returned to owner’ or ‘bought-in’. (g) Any post-auction sale of lots ofered at auction shall incorporate these Conditions of Sale and Authorship Warranty as if sold in the auction.

6 Purchase Price and Payment (a) The buyer agrees to pay us, in addition to the hammer price of the lot, the buyer’s premium, plus any applicable taxes and charges (the ‘Purchase Price’). The buyer’s premium is 25% of the hammer price up to and including HK$3,000,000, 20% of the portion of the hammer price above HK$3,000,000 up to and including HK$30,000,000 and 13.5% of the portion of the hammer price above HK$30,000,000. 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

applicable taxes thereon; (vi) resell the lot by auction or private sale, with estimates and a reserve set at Phillips’s reasonable discretion, it being understood that in the event such resale is for less than the original hammer price and buyer’s premium for that lot, the buyer will remain liable for the shortfall together with all costs incurred in such resale; (vii) commence legal proceedings to recover the hammer price and buyer’s premium for that lot, together with interest and the costs of such proceedings; (viii) set of the outstanding amount remaining unpaid by the buyer against any amounts which we or any of our afliated companies may owe the buyer in any other transactions; (ix) release the name and address of the buyer to the seller to enable the seller to commence legal proceedings to recover the amounts due and legal costs; or (x) take such other action as we deem necessary or appropriate. (b) The buyer irrevocably authorizes Phillips to exercise a lien over the buyer’s property which is in our possession upon notifcation by any of our afliated companies that the buyer is in default of payment. Phillips will notify the buyer of any such lien. The buyer also irrevocably authorizes Phillips, upon notifcation by any of our afliated companies that the buyer is in default of payment, to pledge the buyer’s property in our possession by actual or constructive delivery to our afliated company as security for the payment of any outstanding amount due. Phillips will notify the buyer if the buyer’s property has been delivered to an afliated company by way of pledge. (c) If the buyer is in default of payment, the buyer irrevocably authorizes Phillips to instruct any of our afliated companies in possession of the buyer’s property to deliver the property by way of pledge as the buyer’s agent to a third party instructed by Phillips to hold the property on our behalf as security for the payment of the Purchase Price and any other amount due and, no earlier than 30 days from the date of written notice to the buyer, to sell the property in such manner and for such consideration as can reasonably be obtained on a forced sale basis and to apply the proceeds to any amount owed to Phillips or any of our afliated companies afer the deduction from sale proceeds of our standard vendor’s commission, all sale-related expenses and any applicable taxes thereon.

10 Rescission by Phillips Phillips shall have the right, but not the obligation, to rescind a sale without notice to the buyer if we reasonably believe that there is a material breach of the seller’s representations and warranties or the Authorship Warranty or an adverse claim is made by a third party.

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

11 Export, Import And Endangered Species Licences and Permits Before bidding for any property, prospective buyers are advised to make their own enquiries as to whether a licence is required to export a lot from Hong Kong or to import it into another country. Prospective buyers are advised that some countries prohibit the import of property made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, Brazilian rosewood, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value. Accordingly, prior to bidding, prospective buyers considering export of purchased lots should familiarize themselves with relevant export and import regulations of the countries concerned. Please note that the US prohibits the importation of any item containing African elephant ivory. Asian elephant ivory may be imported in to the US only if accompanied by independent scientifc analysis of continent of origin and confrmation the object is more than 100 years old.

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

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.

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 buyer’s successors, assigns and representatives. (d) Should any provision of these Conditions of Sale be held void, invalid or unenforceable for any reason, the remaining provisions shall remain in full force and efect. No failure by any party to exercise, nor any delay in exercising, any right or remedy under these Conditions of Sale shall act as a waiver or release thereof in whole or in part. (e) If there is any inconsistency or confict between the English text of the Conditions of Sale, Guide for Prospective Buyers and/or Important Notices and their Chinese translations, the English text will prevail.

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.

Phillips warrants the authorship of property in this auction catalogue described in headings in BOLD or CAPITALIZED type for a period of fve years from date of sale by Phillips, subject to the exclusions and limitations set forth below and the Important Notices set out in this catalogue immediately following the Guide for Prospective Buyers. (a) Phillips gives this Authorship Warranty only to the original buyer of record (i.e., the registered successful bidder) of any lot. This Authorship Warranty does not extend to (i) subsequent owners of the property, including purchasers or recipients by way of gif from the original buyer, heirs, successors, benefciaries and assigns; (ii) property where the description in the catalogue states that there is a confict of opinion on the authorship of the property; (iii) property where our attribution of authorship was on the date of sale consistent with the generally accepted opinions of specialists, scholars or other experts; (iv) property whose description or dating is proved inaccurate by means of scientifc methods or tests not generally accepted for use at the time of the publication of the catalogue or which were at such time deemed unreasonably expensive or impractical to use or likely in our reasonable opinion to have caused damage or loss in value to the lot; or (v) property where there has been no material loss in value from the value of the lot had it been as described in the heading of the catalogue entry. (b) In any claim for breach of the Authorship Warranty, Phillips reserves the right, as a condition to rescinding any sale under this warranty, to require the buyer to provide to us at the buyer’s expense the written opinions of two recognized experts approved in advance by Phillips. We shall not be bound by any expert report produced by the buyer and reserve the right to consult our own experts at our expense. If Phillips agrees to rescind a sale under the Authorship Warranty, we shall refund to the buyer the reasonable costs charged by the experts commissioned by the buyer and approved in advance by us. (c) Subject to the exclusions set forth in subparagraph (a) above, the buyer may bring a claim for breach of the Authorship Warranty provided that (i) he or she has notifed Phillips in writing within three months of receiving any information which causes the buyer to question the authorship of the lot, specifying the auction in which the property was included, the lot number in the auction catalogue and the reasons why the authorship of the lot is being questioned and (ii) the buyer returns the lot to Phillips to the salesroom in which it was purchased in the same condition as at the time of its auction and is able to transfer good and marketable title in the lot free from any third party claim arising afer the date of the auction. Phillips has discretion to waive any of the foregoing requirements set forth in this subparagraph (c) or subparagraph (b) above.

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

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

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

Email

Fax

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

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

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

• Arranging absentee and telephone bids is a free service provided by us to prospective buyers. While we will exercise reasonable care in undertaking such activity, we cannot accept liability for errors relating to execution of your bids except in cases of wilful misconduct.

Agreement to bid by telephone must be confirmed by you promptly in writing or by fax. Telephone bid lines may be recorded.

2.

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

Brief description

• Phillips charges the successful bidder a commission, or buyer’s premium, on the hammer price of each lot sold. The buyer’s premium is payable by the buyer as part of the total purchase price at the following rates: 25% of the hammer price up to and including HK$3,000,000, 20% of the portion of the hammer price above HK$3,000,000 up to and including HK$30,000,000 and 13.5% of the portion of the hammer price above HK$30,000,000.

• “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.

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.

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。

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。

買家支付之酬金 本公司會按每件拍品成交價向競投成功者收取佣金或買家 支付之酬金。買家應支付酬金費率為：拍賣品成交價首港幣 3,000,000 元之25%，加逾港幣3,000,000 元以上至港幣 30,000,000元部份之20%；加逾港幣30,000,000元之餘款 的13.5%計算。 買家須就每件拍品支付其成交價、買家支付之酬金及任何適 用之稅項及費用。 1 拍賣前 訂購圖錄 如欲購買是次或其他富藝斯拍賣圖錄，請致電 + 852 2318 2000, +41 22317 8181, +44 20 73184010 , +1 212 940 1240 聯絡我們。 拍賣前估價 拍賣前估價用意為提供指引予準買家。本公司認為任何介乎 於高至低估價範圍之間的競投價皆有成功機會。然而，拍品 亦有可能在低於或高於拍賣前估價拍出。如欲對標示為「估 價待詢」之拍賣品了解更多，請與專家部門聯繫。由於估價可 予修改，因此閣下可於臨近拍賣前聯絡我們。拍賣前估價並 不包括買家支付之酬金或其他適用稅項。 拍賣前估價以美元及歐元為單位 本拍賣會將以港元為競投貨幣，但載於拍賣圖錄內的拍賣前 估價除以港元為單位外，亦或會用美元及或歐元。由於圖錄 中的貨幣兌換率是根據圖錄付印時而非拍賣當日的兌換率而 訂，因此美元或歐元的拍賣前估價只供參考用。 圖錄編列 富藝斯或會在圖錄內刊印有關拍品之出處及過往展覽、引述 於藝術刊物之紀錄。儘管我們以審慎的態度進行編列，但拍 賣品的出處、展覽及文獻或未能詳盡；及在某些情況下我們 或會有意地不揭露物主身份。請注意所有陳述於圖錄內拍賣 品之量度均為約數。 拍賣品之狀況 本公司之圖錄只會在多件型作品 (例如印刷品)的描述中提到 狀況事宜。但該些狀況資料並不等於狀況之完整說明。未有 提及此等狀況資料亦不表示拍品全無缺陷或瑕疵。品狀報告 乃富藝斯為方便買家提供的一項服務。我們的專家以物品估 價相應的方式評估及撰寫品狀報告。雖然我們以真誠及謹慎 的態度撰寫品狀報告，惟本公司職員並非專業修復者或經培 訓之管理人。故我們建議所有準買家應親臨拍賣前展覽並親 自檢查拍品；由於所有品物均於無裝框下出售，除特別註明在 品狀報告上。如拍品出售時有裝框，富藝斯將不會就框架任 何狀況承擔任何責任。如我們售出的拍品沒有裝框，我們樂 意為買家推薦專業的裝框服務。

保證金 如欲競投標有*記號之拍賣品 (高額拍賣品)，富藝斯或要求閣 下交付港幣2,000,000元或其他由富藝斯 決定之更大金額的 保證金及任何財務狀況證明，擔保及/或其他由富藝斯可全權 酌情決定要求的抵押作為參加富藝斯競投的保障。富藝斯亦 會要求閣下於該高額拍賣品拍賣日前完成高額拍賣品預先登 記。當我們確認收到保證金及已填妥之預先登記表格後，閣 下將獲發高額拍賣品競投牌以資識別。拍賣官一般只接受以 高額拍賣品競投牌或其登记競投人士作出之競投。此亦適用 於拍賣現場、電話及書面競投。閣下可以電匯或富藝斯可接 受之信用卡繳付保證金。如閣下未有成功競投高額拍賣品， 於富藝斯或我們任何附屬公司亦無任何欠款，保證金將以電 匯(與閣下繳付保證金時相同之貨幣)或信用卡退還，視乎個 別情形，本公司將安排於拍賣日期後7天內安排退還保證金。 符號圖例 圖錄內提述有關以下符號之意思 O 保證項目 拍賣品標有O符號代表已獲承擔保證最低出售價。在此情況 下，不論拍賣結果如何，該賣家都可收取一筆由富藝斯保證 的最低金額款項。該保證可由富藝斯獨自提供或與第三方共 同提供。 ♦ 第三方保證 在富藝斯同意提供最低出售價保證時，便承擔拍賣品不被賣 出或以低於最低出售價保證的價格賣出所涉及的財政風險。 由於可涉及龐大金額，富藝斯可選擇與第三方分擔有關的財 政風險。第三方會在拍賣進行前承諾分擔有關風險，通常是 以書面形式競投，列明不論有否其他競投都會以一個協議金 額買入拍賣品。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 為一固定費用或拍賣品成交價的一定比例。若該第三方擔 保人競投成功，其必須繳付拍賣品的成交價和買家支付之酬 金，而不會獲得任何補償。 第三方財政權益的披露 富藝斯規定第三方擔保人向接受其建議的任何人士披露其 對拍賣品的財政權益。若您考慮競投涉及第三方保證的拍賣 品及正在接受他人的建議，或若您已要求他人代表您競投， 您必須要求他們確定其是否對拍賣品有財政權益。

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無底價 除非標有•符號，否則所有本圖錄內所載之拍賣品均有底價。 底價是由富藝斯 和賣家共同訂立且機密之價格。拍賣品不會 以低於該價售出。每件拍賣品的底價一般以低估價之一定比 例來定，並且不會高於拍賣前低估價。

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

重要通告 僱員競投 富藝斯及其附屬公司之僱員，包括拍賣官只可在不知底價 及全面遵守本公司的僱員競投內部規例之情況下進行書面 競投。 競投價遞增幅度 競投一般由低於最低估價開始，通常每次喊價之遞增幅度最 高為10%，拍賣官亦可於拍賣時自行決定更改每次喊價增加 之額度。書面競投價若與下列之遞增幅度不一致，將被調低 至下一個喊價幅度。 競投價 1,000-2,000 港元 2,000-3,000港元 3,000-5,000港元 4,200, 4,500, 4,800港元) 5,000-10,000港元 10,000-20,000港元 20,000-30,000港元 30,000-50,000港元

50,000-100,000港元 100,000-200,000港元 200,000-300,000港元 300,000-500,000港元

500,000-1,000,000港元 1,000,000港元或以上

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

在拍賣時拍賣官可酌情更改每次增加之額度。 3 拍賣 如上所述，拍賣會受業務規定及保險書所規限，所有準買家 應仔細閱讀。該等業務規定及保證書可經在拍賣會場張貼通 告或由拍賣官作出公佈之方式進行修改。 有利害關係的各方公佈 在某些情況下對拍賣品有直接或間接利害關係的一方可能對 拍賣品作出競投，如出售拍賣品之遺產之受益人或執行者； 拍賣品之聯權共有人或提供或參與保證的一方，富藝斯將會 於拍賣廳內公佈有利害關係的各方可能對拍賣品作出競投。

接連投標及競投；無底價拍賣品 拍賣官可代表賣家為任何拍賣品叫第一口價以開始競投。拍 賣官更可代表賣家以接連投標或競投之方式，就拍賣品作出 競投直至達到底價。就不設底價的拍賣品,除非已有競投,否 則拍賣官一般會以拍品的拍賣前低估價的50%開始拍賣。若 在此價格下並無投標,拍賣官會自行斟酌將價格下降繼續拍 賣,直至有客戶開始競投,然後再由該投標價向上繼續拍賣在 沒有更高叫價的情況下,以書面投標競投無底價拍賣品會以拍 賣前低估價大約50%成交。 但若該投標價低於拍賣前低估 價的50%, 則以該投標價成交。如果無底價拍賣品沒有任何 叫價, 拍賣官會自行決定該拍賣品為流拍。 4 拍賣後 付款 除非與富藝斯於拍賣前已達成書面安排,否則買家須於拍賣 後即時以港元付款。閣下可依照業務規定第6段所述以電匯 方式付款。現金及支票恕不接納。

信用卡 為方便客戶, 富藝斯可接受以信用卡支付不多於港幣80萬元的 付款。 使用信用卡將會被收取附加費。 如欲了解更多以信用 卡付款詳情, 請聯絡客戶服務部+852 2318 2000。 提取 提取拍賣品時請出示身份證明。富藝斯收到全數結清之貨 款及確認買家在本公司及其附屬公司沒有欠款後，會將拍賣 品交予買家或買家授權之代表。拍賣後所有拍品會被儲存 在外。如欲提取拍品，煩請與我們運輸部聯絡，電話：+852 2318 2000。未能提取的拍品均會被收取有關轉移，利息，儲 存等相關費用。 損失或損壞 買家請注意富藝斯對拍賣品損失或損壞之責任期限最多為 拍賣後七天。 運輸及付運 作為一項予買家的免費服務，富藝斯只可包裝拍品作手提 用。我們並不會直接提供包裝、處理及付運服務。但我們可 依據閣下之指示與付運代理協調以促成閣下於本公司購買貨 物之包裝、處理及付運。詳情請參閱業務規定第7段。 出口及入口許可證 在競投任何拍賣品前，我們建議準買家對拍賣品先作獨立調 查以確定是否需要以許可證出口香港或進入其他國家。買家 須遵守所有入口及出口之法律及應取得有關的出口或入口許 可證。不獲發任何所需之許可證或執照並不構成取消買賣或 延遲繳付全數貨款之充分理由。 瀕危物種 由植物或動物材料如珊瑚、鱷魚、象牙、鯨骨、巴西玫瑰木、 犀牛角或玳瑁殼，不論其年份、百分比率或價值，均可能須申 領許可證或證書方可入口至美國或其他歐盟以內或外的國 家。請注意能取得出口許可證或證書並不能確保可在另一國 家取得進口許可證或證書，反之亦然。我們建議準買家在競 投前向相關政府查核有關野生動植物進口之規定後再參與 競投。買家須負上所有責任取得任何所需出口或進口許可證 或證書，以及任何其他所需文件。請注意美國禁止入口任何 含有非洲象牙的產品。亞洲象的象牙可被進口到美國，而該 進口必須附有獨立科學分析報告以證明有關物品的起源地 及確認物品的年期已超過一百年。我們在銷售任何藏品前， 均無對藏品進行科學分析，所以無法確認相關藏品的象牙是 來自亞洲及非洲。買家凡購買有關藏品並計畫將有關藏品進 口美國，必須承擔風險並負責支付任何科學分析報告或其他 報告的費用。 有關任何含有象牙以外的瀕危物種藏品，進口者須提供證明 文件鑑定物種及藏品之年期以顯示該藏品為古董。買家須進 行獨立評估以認證藏品上之瀕危物種物料及認證藏品之年 期為不少於一百年。如欲計劃入口藏品到美國的準買家不應 依靠富藝斯 編列於圖錄內藏品上的瀕危物種物料或藏品之年 期及必須諮詢具有專業資格的獨立鑑定者後再參與競投。 請注意我們為方便客戶而在含有可能受管制植物或動物物料 的拍賣品上附加標記，但附加標記時如有任何錯誤或遺漏， 富藝斯恕不承擔任何責任。

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

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

(a) 富藝斯對各拍賣品之認識部份依賴賣家向其提供之資料, 且富藝斯無法及不會就各拍賣品進行全面盡職審查。 準買家 知悉此事, 並承擔進行檢查及檢驗之責任, 以使滿意彼等可能 感興趣之拍賣品。 儘管如前所述, 富藝斯在圖錄描述或品狀 報告作出之明示聲明, 應以有關拍賣中有關拍賣品之拍賣官 身份相符之合理審慎態度作出; 以及基於(I)賣家向其提供之 資料; (II)學術及技術知識; 及(III)相關專家普遍接納之意見作 出之明示聲明, 在各情況下應以合理審慎態度作出明示。 (b) 富藝斯提呈拍賣時出售之各拍賣品於拍賣前可供準買家 檢查。 在競投人(鑑於有關拍賣品之性質及價值及競投人之 專業知識而屬合適者,以及代表彼等之獨立專家)已當作在投 標前全面檢驗拍賣品, 並滿意拍賣品之狀況及其描述之準確 性, 富藝斯會接受競投人對拍賣品之投標。 (c)準買家確認眾多拍賣品年代久遠及種類特殊, 意味拍賣品 並非完好無缺。 為方便準買家, 富藝斯或會準備及提供品狀 報告以方便準買家檢查拍賣品用。 圖錄描述及品狀報告在若 干情況下可用作拍賣品某些瑕疵之參考, 但競投人應注意, 拍 賣品可能存在其他在圖錄或品狀報告內並無明確呈視出之瑕 疵。 所有量度皆為約數。 解說只供鑑定用途, 將不能當作為 拍賣品尺寸之精確量度或真實狀況之全部資料。

(d) 提供予準買家有關任何拍賣品之資料包括任何拍賣前預測 (無論為書面或口述)及包括任何圖錄所載之資料、規則及其他 報告、評論或估值, 該等資料並非事實之陳述, 而是富藝斯所 持有之意見之聲明, 故不應依賴任何拍賣前預測作為拍賣品售 價或價值之預測, 且該等資料可由富藝斯不時全權酌情決定修 改。 富藝斯及並附屬公司皆不會為任何拍品拍賣前估價與於 拍賣或轉售所達之實際價錢之間的差距負上任何責任。 4 拍賣會上競投出價 (a) 富藝斯可全權酌情決定拒絕進入拍賣場地或參與拍賣。 所有競投者需於競投前登記競投牌, 並提供富藝斯所需資料 及參考。

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

(b) 拍賣官可隨時酌情決定拒絕或接受任何競投, 撒回任何 拍賣品, 重新出售拍賣品(包括在落槌後), 以及如遇出錯或爭 議時採取其認為是合適之其他行動。 富藝斯不會為拍賣官之 行動承擔任何責任。 如在拍賣後有任何爭議, 將會以本公司 的拍賣紀錄為確鑿。 拍賣官或會接受富藝斯附屬公司競投者 在不知道該拍賣品之底價的情況下之競投。 (c) 拍賣官會以其認為合適之喊價開始及繼續拍賣。 為保障 所有拍賣品的底價, 拍賣官在不一定表示的情況下, 可代表 賣家以接連投標或競投之方式就拍賣品作出競投直至達到 底價。 就不設底價的拍賣品,除非已有競投,否則拍賣官一般 會以拍賣品的拍賣前低估價的50%開始拍賣。 若在此價格 下並無投標,拍賣官會自行斟酌將價格下降繼續拍賣,直至有 客戶開始競投,然後再由該投標價向上繼續拍賣。 在沒有更 高叫價的情況下, 以書面投標競投無底價拍賣品會以拍賣前 低估價大約50%成交。 但若該投標價低於拍賣前低估價的 50%, 則以該投標價成交。如果無底價拍賣品沒有任何叫價, 拍賣官會自行決定該拍賣品為流拍。 (d) 本拍賣會以港元進行拍賣及須以港元繳款。 為方便海外 客人, 圖錄內之拍賣前估價或會用美元及或歐元, 及會反映大 概兌換率。 因此, 美元或歐元的估價只供參考用。為方便競 投者, 本公司於拍賣會上或使用貨幣兌換顯示板, 富藝斯 不會 為任何貨幣兌換計算出現錯誤承擔任何責任。 (e) 在拍賣官之酌情下, 其出價最高且被拍賣官接受的競投者 將為買家, 下槌則顯示最高競投價之被接受, 亦表示賣家與買 家之間的拍賣合約之訂立。 拍賣品之風險及責任將如載於以 下第7段轉移到買家。 (f) 如拍賣品沒有售出, 拍賣官會宣佈該拍賣品為”流拍”, “ 撤回”, “送回賣家”。 (g) 任何於拍賣會後的拍品買賣均受業務規定及著作保證所 限制, 如同拍品於拍賣會中出售。 6 購買價及付款 (a) 買家同意支付本公司每件拍賣品之成交價，買家應支付 本公司酬金及所有適用稅項及費用。買家應支付酬金費率 為：拍賣品成交價首港幣3,000,000元之25%，加逾港幣 3,000,000元以上至港幣30,000,000元部份之20%；加逾港 幣30,000,000元之餘款的13.5%計算。 (b) 除非另有協議, 否則買家須於拍賣後立即繳款, 與有任何 意圖獲得該拍賣出口或進口許可證或其他執照無關。 付款 須由發票抬頭人,以港元及按照發票上之詳細銀行資料以電 匯方式支付。 (c) 為方便客戶, 富藝斯將接受以美國運通卡, Visa及萬事達卡 繳付最多港幣80萬元之發票。 使用信用卡將被收取附加費。 (d) 所購拍賣品之擁有權將於富藝斯 全數收取後方可轉移。 富藝斯概無責任將拍賣品交給買家直至拍賣品之擁有權已轉 移, 且已獲提供適當確認而提早交付不會影響擁有權之轉移 或買家支付買入價之無條件責任。 7 提取拍賣品 (a) 富藝斯直至確認全數收取及買家於富藝斯或 其附屬公司 沒有欠款, 包括任何根據以下第8(a)段所述需繳之任何費用; 及我們滿意買家所需其他條款(包括完成反洗黑錢或反恐怖 主義之財務審查後, 會將拍賣品交予買家。

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

(c) 如買家未能繳付款項, 買家不可撤銷已授權富藝斯指示其 附屬公司將買家被管有的物品以買家代理人之身份交予富藝 斯指定的第三方作購入價及任何其他欠款之典當或抵押。 此 項安排將於以書面通知買家後不少於30天進行, 出售物品以 所獲得的出售金額(扣除出售之標準賣家佣金及其他有關費 用及任何適用稅項)支付富藝斯或 其附屬公司。 10 決定撤銷 富藝斯有權撤銷拍賣及沒有義務通知買家, 如本公司有理由 相信賣家與著作保證之間涉及違約或有第三方欲以不良意圖 索償。 當富藝斯 決 定撤銷拍賣及通知買家後, 買家應儘快將 拍賣品退回富藝斯, 而本公司會退還我們所收的購入價。 如 以下第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。 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。

(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。

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。

147. Kazuo Shiraga 白髮一雄

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)之副本。 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。

所有投標的處理及執行、及所有拍品的成交及購買均按照圖錄所載之業 務規定執行。請於參與競投前細閱業務規定，並細閱第4段之內容。

請選擇此表格之競投方式(選一項)：

• 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。

現場競投 書面競投 電話競投

競投牌號碼

• 本公司會按每件拍品成交價向成功競投者收取佣金或買家支付之酬金。 買家應支付本公司酬金，酬金費率為：拍品成交價首港幣3,000,000元之 25%，加逾港幣3,000,000元以上至港幣30,000,000元部份之20%；加 逾港幣30,000,000元之餘款的13.5%計算。

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「或」字作 兩者(或若干)中擇一競投。

以個人名義 以公司名義

• 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) 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

拍賣名稱 稱謂

• 業務規定

拍賣編號 名字

公司名稱(如適用)

拍賣日期 姓氏

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喊 價遞增幅度之競投金額。

地址

• 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優 先辦理。 城市

國家

• 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

郵編 電話

手提電話

電郵地址

傳真

電話競投，或在當中出現之任何誤失或遺漏負任何責任。電話競投者必 須以函件或傳真儘快確認投標獲辦理。電話競投對話過程或會被錄音。 • 請將填妥之競投表格於拍賣日前至少24小時傳真至 + 852 2318 2010 或掃描並電郵至

於拍賣時聯絡閣下的電話號碼 (只供電話競投用) 1.

bidshongkong@phillips.com予投標部。閣下將於1個工作天內以電郵方

2.

式收到確認。如閣下未有收到確認回覆，請重新遞交表格並聯絡投標部

所用語言 (只供電話競投用)

+852 2318 2029。 • 閣下可使用信用卡 (上限為港幣800,000元) 或以電匯方式付款。請注意

以下部份只適用於電話及書面競投 拍品編號 拍品簡要敍述

港幣最高競投價

(順序)

只適用於書面競投

以信用卡付款將會被收取附加費。 • 拍品需於本公司收到全數結清之款後方能提取。 • 閣下簽署本競投表格，即表示閣下同意本公司依據網站上www.phillips. com所載或可電郵至 dataprotection@phillips.com索取之隱私政策條款使用閣下個人資料， 包括「敏感性資料」 。我們或會不定期向閣下發送有關於本公司將舉行的 拍賣、活動資訊，如閣下不欲接收此等資訊，可電郵至dataprotection@ phillips.com通知我們。 • 在富藝斯範圍內可能進行錄像監控。電話對話如電話競投亦有可能被錄 音，本公司會根據隱私政策處理該資料。

* 買家酬金不計在內

簽署

日期

o 請於方格內劃上”✓”號，確認閣下以上登記/競投並同意接受富藝斯載於圖錄及網站內之業務規定。

o 如欲訂閱富藝斯集團成員公司日後舉行的銷售、展覽及特別活動的電郵通 訊，請在方格打勾。根據刊載於本集團網站www.phillips.com 的私隱政策， 閣下可隨時更改或取消訂閱。

20th Century & Contemporary Art Day Sale London, 28 June 2019 Enquiries Tamila Kerimova, Head of Day Sale +44 20 7318 4065 tkerimova@phillips.com

Niki de Saint Phalle 1930–2002 Dawn (bleue) incised with the artist’s name, number and stamped with the Gérard Haligon Résines d’Art publisher's stamp ‘Niki 3/5’ on the reverse of the lef heel painted polyester on metal base 141 x 115.6 x 63.5 cm (55 1/2 x 45 1/2 x 25 in.)

Executed circa 1993, this work is number 3 from an edition of 5 plus 3 artist’s proofs plus 1 EE. © Niki de Saint Phalle Charitable Art Foundation / ADAGP, Paris and DACS, London 2019.

Visit us at phillips.com

Sale Information JW Marriott Hotel Hong Kong 88 Queensway, Admiralty, Hong Kong

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

Auction 26 May2019, 10am (Lots 101–204)

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

Auction and Viewing Location

Viewing 23 May 2019 24 May 2019 25 May 2019

10am – 6pm 10am – 6pm 10am – 7pm

Sale Designation When sending in written bids or making enquiries please refer to this sale at HK010219 or 20th Century & Contemporary Art & Design Day Sale Absentee and Telephone Bids tel +852 2318 2029 fax +852 2318 2010 bidshongkong@phillips.com

Head of Day Sale Charlotte Raybaud +852 2318 2026 craybaud@phillips.com Specialists Clara Rivollet +886 908 876 669 crivollet@phillips.com Jane Yoon +82 10 7389 7714 jyyoon@phillips.com Meiling Lee +886 908 876 669 mlee@phillips.com Sandy Ma +852 2318 2025 sma@phillips.com Specialists, Design Marcus McDonald +44 20 7318 4095 mmcdonald@phillips.com Sofa Sayn-Wittgenstein +44 75 5304 5679 ssayn-wittgenstein@phillips.com Cataloguers Danielle So +852 2318 2027 dso@phillips.com Delissa Putri Handoko +852 2318 2013 dhandoko@phillips.com Administrator Marian Ang +852 2318 2024 mang@phillips.com Senior Business Manager Othniel Jai Prakash +852 2318 2034 othnieljaiprakash@phillips.com

Auctioneer Jonathan Crockett Photographers Jean Bourbon Alex Braun Feeling Workshop Matt Kroening Etta Kwok Arnold Lee Peter Lee Kent Pell Lin Yu-Shyang Special Thanks Zoe Chiu Luisa Ku Alice Zhong Xing Zhao Catalogues catalogues@phillips.com HKD400/$50/€35/50CHF +852 2318 2000 Client Accounting clientaccountslondon@phillips.com +852 2318 2000 Client Services 14/F St. George's Building 2 Ice House Street Central Hong Kong +852 2318 2000 Shipping Christine Cheung +852 2318 2017 christinecheung@phillips.com

20th Century & Contemporary Art Day Sales New York 15 May 2019 Public viewing 3 – 15 May at 450 Park Avenue, New York Jean Dubufet Arbre aux deux étages epoxy paint on polyurethane Executed August 17, 1970.

Enquiries rbowling@phillips.com +1 212 940 1250 jmccord@phillips.com +1 212 940 1261

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Index Banksy 132, 187

Mai, Trung Thú 161, 162

班克斯 132, 187

梅忠恕 161, 162

Bufa, Paolo 193

Martinez, Eddie 101, 107

保羅·布法 193

艾迪·瑪汀尼茲 101, 107 元永定正 148, 149

Motonaga, Sadamasa 148, 149 Calder, Alexander 170

Mr. 103

亞歷山大·考爾德 170

Mr. 103

Chu, Teh-Chun 138

Murakami, Takashi 106, 120, 121, 189

朱德群 138

村上隆 106, 120, 121, 189

Condo, George 134, 135

Murakami, Takashi & Abloh, Virgil 133

喬治·康多 134, 135

村上隆與維吉爾·阿伯拉赫 133

瑪莉娜.克魯斯 165

Cruz-Garcia, Marina 165

中西夏之 154

Nakanishi, Natsuyuki 154 Foujita, Leonard-Tsuguharu 176, 177

Nakashima, George 163, 164

藤田嗣治 176, 177

中島勝寿 163, 164

Freud, Lucian 172, 173

Nam, Tchun Mo 152

盧西安·弗洛伊德 172, 173

南春模 152 奈良美智 111, 112, 113, 188

Nara, Yoshimoto 111, 112, 113, 188 五木田智央 123, 124, 125, 126,

Gokita, Tomoo 123, 124, 125, 126, 130, 131

Picasso, Pablo 171

130, 131

巴布羅·畢加索 171

Haring, Keith 186

Rokkaku, Ayako 104, 105

凱斯·哈林 186

六角彩子 104, 105

Hosakawa, Maki 156

Ruby, Sterling 102

細川真希 156

斯特林·魯比 102

Ingrand, Max 192

Sanyu 174, 175

馬克斯.英格蘭 192

常玉 174, 175

賈藹力 185

白髮一雄 147

七戶優 157

Shichinohe, Masaru 157 Jia, Aili 185

Shiraga, Kazuo 147

芬·祖爾 136, 143, 159

Juhl, Finn 136, 143, 159

曾海文 139

T’ang, Haywen 139 Kamatani, Tetsutaro 155

Takamatsu, Jiro 122

鎌谷徹太郎 155

高松次郎 122

Kato, Izumi 108, 109

Taniguchi, Maria 167, 168

加藤泉 108, 109

谷口.瑪麗亞 167, 168

KAWS 127, 128, 129, 194, 195,

Tapaya, Rodel 166

KAWS 127, 128, 129, 194, 195,

羅德爾·塔帕雅 166

196, 197, 198, 201, 202, 203, 204

Ting, Walasse 141, 142

196, 197, 198, 201, 202, 203, 204

丁雄泉 141, 142

KAWS x 空山基 199, 200

KAWS x Sorayama, Hajime 199, 200 Kim, Sou Sou 153

Utarit, Natee 169

金樹洙 153

納堤·尤塔瑞 169

金澤相 151

Kim, Taek Sang 151 Kim, Tschang-Yeul 144

Wang, Yancheng 140

金昌烈 144

王衍成 140

Kusuma, Yayoi 114, 115, 116, 117, 118,

Wanscher, Ole 178, 179, 181, 182

草間彌生 114, 115, 116, 117, 118,

奧萊·萬夏 178, 179, 181, 182

119, 190, 191

Wood, Jonas 110

119, 190, 191

喬納斯·伍德 110

Larsen, Ejner and Madsen,

Xu, Zhen 158

艾納·拉森與

徐震 158

阿克塞爾·本德·馬德森 180

Aksel Bender 180 Lee, Kun Yong 150

Zao, Wou-Ki 137

李健鏞 150

趙無極 137

Lee, Ufan 145, 146

Zhu, Wei 183

李禹煥 145, 146

朱偉 183

Liu, Kang 160

劉抗 160

Liu, Xiaodong 184

劉小東 184

Front Cover Lot 132, Banksy, Ballerina CP/03

Back Cover Lot 134, George Condo, Jean Louis’ Wife

Courtesy of Pest Control Ofce

© 2019 George Condo/ Artists Rights Society (ARS), New York

137. Zao Wou-Ki 趙無極

124. Tomoo Gokita 五木田智央

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159. Finn Juhl 芬．祖爾

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