10th Anniversary Auctions of Poly Auction Hong Kong | Modern and Contemporary Art

MODERN AND CONTEMPORARY ART

現當代藝術 HONG KONG 12-13 JULY 2022 香港 2022 年 7 月 12-13 日

晚間拍賣 EVENING SALE

Lots 1-30

GODWIN CHAMPS NAMUYIMBA 德溫·香榭·納木因巴

治癒歷史，征服未來 《崛起而閃耀》, 這件作品是『非 洲未來主義』的代表，象徵著人類

正踏入下一個時代

──德溫·香榭·納木因巴

「非洲未來主義」一詞的概念於1994年正式由作家馬克．德 裏在文章〈走向未來的黑色〉提出，而後沿用至音樂，藝術 等各種文化領域之中。其實自1960年代以來，「非洲未來 主義」便一直受非洲歷史、神話和生物社會學等影響孕育而 生，藝術家們透過對自身文化根源及生活形態的描繪，批判 西方主流社會對黑人文化的壓制，進而探索非洲中心主義和 歐洲中心主義兩種意識形態之間的衝突和緊張關係，尋覓以 黑人自我文明為中心的未來。 德溫·香榭·納木因巴1989年出生於烏干達，於基揚博多

由伊塔沙．沃馬克設計的《非洲未來主義：黑色科幻和幻想文化 的世界》書本封面 Cover for Afrofuturism: The World of Black Sci-Fi and Fantasy Culture designed by Yatasha Womack

戈大學獲得美術學士學位後，便一直在自己的國家生活及創 作。這位正在崛起的黑人藝術家常以身邊的日常人物為素 材，對自身種族及個體的身份認同進行探尋。《崛起而閃

翻，試圖將非洲中心主義重新植入從前被忽略的人類文明歷

耀》(Lot 1) 作品中，背景以色彩豐富的圖騰色塊填滿，上方

史脈絡之中，同時更是藝術家對自身身份認同，對自身所處

炫麗的火花，下方鮮艷的彩色花卉圖案，讓人立即聯想到崇

的非洲文化及種族的讚頌及謳歌。

尚明艷圖騰的非洲文化。畫面中的黑人主角從容自如的翹起 腿坐於沙發上，眼神堅定自信地直視觀眾。

納木因巴的作品中常常可見物品所代表的隱喻，《崛起而閃

《崛起而閃耀》中的黑人身穿宇航員服裝，於沙發上擺放著

著的鞋子不免讓人聯想到日常可見的西方跑鞋品牌阿迪達

頭盔，這些標誌性符號在藝術家同系列的其他作品中多次出

斯，代表著西方當代經濟文化對全球消費市場的主宰及滲

現，代表著「非洲未來主義」中「宇宙」、「未來」等元

透，畫面中的黑人將代表西方現代經濟文化的跑鞋置於腳

素。航空領域代表著人類對浩瀚無垠的宇宙的探索，是全人

下，與畫面中鮮艷的非洲彩色圖騰共同存在，相互衝突，更

類的夢想。藝術家將黑人的身份置入宇航員，成為全人類的

是可窺見藝術家對自身文化中心的堅定，將「非洲中心主

代表，表現出藝術家對人類歷史文明權力中心的批判與推

義」置於「西方中心主義」之上的意圖可見一斑。

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POLY AUCTION HONG KONG

耀》作品中，人物的腳部在畫面比例看來佔據較大面積，穿

GODWIN CHAMPS NAMUYIMBA

MENDING THE PAST AND CONQUERING THE FUTURE Formally proposed by author Mark Dery in his 1994 essay, "Black to Future," the concept of "Afrofuturism" was subsequently applied to music, arts, and other forms of culture. However, in reality, Afrofuturism has been cultivated and influenced by African history, myths, and biological sociology since the 1960s. Through a depiction of their own cultural origins and lifestyles, artists have been criticizing the suppression of black culture by mainstream Western society, while also exploring the conflict and tension between the ideologies of Afrocentrism and Eurocentrism in search for a future with black civilization at its core.

Godwin Champs Namuyimba was born in 1989 in Uganda, where he has lived and created art after obtaining a Bachelor of Arts degree from Kyambogo University. As a rising black artist, Namuyimba often focuses his art on people around him as a way of introspection and ethnic identification. In the work, Arise and Shine (Lot 1), the background is filled by richly coloured totem blocks.

The glamorous sparks at the top and vivid floral patterns at the bottom provide an immediate association with the brilliant totems of African culture. The painting portrays a black man calmly sitting cross-legged on a sofa, confidently looking at viewers.

In Arise and Shine, the black man's astronaut suit and helmet on the sofa are iconic symbols that frequently appear in the artist's series, representing Afrofuturistic elements, such as "universe" and "future." The space industry is a dream for all humankind as it demonstrates the attempt to explore the infinite universe. By portraying the black man as an astronaut and a representative of humankind, the artist criticizes and displaces the center of power throughout human history and civilization, in an attempt to reintroduce previously overlooked Afrocentrism into the context of human history and civilization. At the same time, the artwork also expresses the artist's identity and celebration of African culture and ethnicity.

Namuyimba often embeds metaphors into mundane objects depicted in his works. In Arise and Shine, the character's feet appear proportionally larger in shoes that resemble Adidas, a popular Western brand for running shoes. This implies the dominance and penetration of contemporary Western economy and culture on the global consumer market. At the bottom of the black man's feet are running shoes, a symbol of the contemporary Western economy that co-exists yet contradicts with the vibrantly colourful African totems in the painting. This not only demonstrates the artist's firm commitment to his culture, but also his intention to emphasize Afrocentrism over Eurocentrism.

1 GODWIN CHAMPS NAMUYIMBA 德溫·香榭·納木因巴 UGANDAN, B. 1989

Arise and Shine Painted in 2021 oil on canvas 230.5 x 200 cm. (90 1/2 x 78 1/2 in.) titled, signed and dated 'ARise and Shine Namuyimba 2021' (on the reverse) PROVENANCE

Private Collection, Europe (Acquired directly from the artist by the present owner)

HK$ 500,000 - 800,000 US$ 64,100 - 102,600 6

POLY AUCTION HONG KONG

崛起而閃耀 2021 年作 油彩 畫布 款識：ARise and Shine Namuyimba 2021（畫背） 來源

歐洲 私人收藏（現藏者直接得自於藝術家）

MODERN AND CONTEMPORARY ART

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加藤泉

無題

加藤泉一直奉行「觀賞者有解讀作品的自由」理念，

的身體中生發出一般，使人物與畫面充盈著一種平

他的繪畫沒有特定的主題，且總以「無題」來命名，

靜、安逸的氛圍和母親般溫柔的情感。

他本人也從未仔細解釋過每件作品的構思，放手任由 觀者想像。他的繪畫經常以人形生物為主，形象古靈 精怪，色彩運用有一種直覺般的自由和大膽，媒材上 更是包羅萬象，例如從日本各個縣收來的當地織物、 石頭、木材等，但不變的是他極具個人風格的—擁有

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加藤泉畢業於著名的武藏野美術大學造形部油畫科， 系統的專業訓練使得加藤泉的作品兼收藝術史中的圖 像，例如非洲原始的圖騰像、畢加索的立體主義和 馬蒂斯自由灑脫的線條，但他並沒有將這種影響直接

寶石般變幻莫測的瞳孔、精怪一樣的人物。

在畫面中再現，而是將這種塑造變為一種深層次的意

《無題》(Lot 2) 的背景充滿舞台感，深淺不一的綠色

響，但也並不全然認為他作品中反映出的鬼神一般的

線條營造了一個動態不定、深不可測的空間。畫中

形象是來自於日本的神道教一樣。《無題》曾出現在

人物置於舞台中央，彷彿深邃的背景中打下一束聚光

加藤泉於2010年在東京ARATANIURANO 舉辦「SOUL

燈，使人物身上有種神聖祥和的光暈。人物塑造依舊

UNION」個展中，正如這次展覽的名字「靈魂聯

識和「世界觀」，包括他也曾坦言故土文化對他的影

是標誌性的類似非洲原始圖騰，也像是其家鄉—有著

盟」，《無題》也體現了一種萬物有靈共生的理念，

「諸神之國」之稱的日本島根縣所流傳的神話傳說中

並透露出藝術家一以貫之的興趣點是「人」本身，通

的人物。《無題》中的人物不同於以往性別難辨的人

過審視「人」的形象和周遭的「關係」，意在表達無

物形象，畫面中人物有著明顯的女性特質，以流暢線

形的思想和價值觀如何在血緣關係和不同族類之間共

條繪出的身體非常勻稱優美，豔麗的火紅色的頭髮奔

通，而這種關係與藝術家和環境之間的關係也形成了

放又帶有一絲神秘，像部落中的女神。她併膝而坐，

呼應—即教育、文化背景所帶來的潛移默化的影響與

面龐平靜，散發著孩子一般的純真，結合孔雀藍和明

他本人血脈相融，使他的創作成為一種「天性」而非

黃色的瞳孔凝望著這個世界，一朵潔白的花像是從她

「意圖」，作品也因此而富有生命力。

POLY AUCTION HONG KONG

IZUMI KATO Izumi Kato's works are all titled Untitled as he wants the viewer to be able to interpret the work freely. He himself has never elaborated on the idea of each piece, leaving it to the imagination of the viewer. His paintings often focus on humanoid creatures, with quirky images and an intuitive freedom and boldness in the use of colour, and he uses a wide range of media, such as local fabrics, stones and wood collected from various prefectures in Japan. What remains unchanged is his very personal style: the jeweled eye pupils of the gargoyle-like character.

Untitled (Lot 2) has a stage-like backdrop, with shades of green creating a dynamic, unfathomable space. The figure is placed in the centre of the stage, as if a spotlight has been shone on the deep background, giving them a holy and peaceful glow. The figure still contains the iconic style of African totems Kato was inspired by, as well as figures from myths and legends from the artist's homeland, Shimane Prefecture, Japan, also known as the 'Land of the Gods'. The figure in Untitled is a departure from previous works by the artist where the gender was difficult to distinguish. In this present work, the figure's body is painted with smooth lines, gracefully proportioned.

The figure is distinctively female with flaming red hair, like a tribal goddess. She sits knee-deep, her facial features exude a calm childlike innocence. Her pupils are a combination of peacock blue and bright yellow, gazing out into the world.

A white flower seems to emerge from her body, bringing a sense of peace and calmness to the overall work, creating a restful atmosphere and motherly tenderness.

Izumi Kato graduated from the Department of Oil Painting of the prestigious Musashino Art University. The systematic and professional training he received has enabled him to incorporate images from art history, such as primitive African totems, cubism of Picasso and free-flowing lines of Matisse into his own creation. However, he does not reproduce these influences directly in his paintings, but rather turns this shaping into a deeper consciousness and 'world view'. He has also confessed to the influence of his native culture but does not entirely see the ghostly images reflected in his work as coming from the Japanese Shinto religion. Untitled was featured in Izumi Kato's solo exhibition "SOUL UNION" at ARATANIURANO in Tokyo in 2010. As the title of the exhibition "SOUL UNION" suggests, Untitled also embodies the idea that everything has a spiritual symbiosis and reveals that the artist's constant interest is in the "human being" himself. By examining the image of the 'human' and the 'relationships' around it, the intent is to express how invisible ideas and values are shared between blood relations and different ethnic groups. Furthermore, this relationship echoes the relationship between the artist and the environment. Which is also the subtle influence of his education, cultural background and his own bloodline, making his creations a 'nature' rather than an 'intention', injecting life into his art works.

如果我知道自己在做什麼，那我就會 失去實現它的動力，而創作的意義也 將不復存在。

──加藤泉

If I understand what I am doing, I will lose my motivation to make it and the purpose of creation will be lost.

- Izumi Kato

尚．杜布菲《分娩》1944年作 美國 紐約 現代藝術博物館藏 Jean Dubuffet, Childbirth , 1944, Collection of The Museum of Modern Art, New York, USA

MODERN AND CONTEMPORARY ART

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2 IZUMI KATO 加藤泉

JAPANESE, B. 1969

Untitled

無題

Painted in 2009 oil on canvas 145.5 x 111.5 cm. (57 1/2 x 44 in.) dated, inscribed and signed '2009 Oil on canvas 145.5 x 112 cm (80F) KATO'; signed in Japanese (on the reverse)

2009 年作 油彩 畫布 款識：2009 Oil on canvas 145.5 x 112 cm (80F) KATO泉（畫背）

PROVENANCE

Private Collection Christie's Hong Kong, 29 May 2016, Lot 182 Acquired from the above sale by the present owner EXHIBITED

Japan, Tokyo, ARATANIURANO, SOUL UNION, 12 March-17 April, 2010.

HK$ 700,000 - 1,000,000 US$ 89,700 - 128,200 10

POLY AUCTION HONG KONG

來源

私人收藏 佳士得 香港 2016年5月29日 編號 182 現藏者購自上述拍賣 展覽

2010年3月12日-4月17日「SOUL ARATANIURANO 東京 日本

UNION」

MODERN AND CONTEMPORARY ART

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殺馬特，大家都知道，是三四線城市青年模仿歐美或日本視

覺系之後的一種錯位，帶有強烈的本土特點。題目兩個『殺』

字，是從音節上考慮，也是從說話語氣的輕重考慮，這樣語 音節奏上的舒緩，不那麽正經。我過去的髮型有些誇張，大 家一說殺馬特，洗剪吹，就會笑我。我也無所謂，就用了這

個方便的詞，正好，它也可以暗喻外來文化的本土的誤讀、

吸收和錯位。題目的寬泛，使得我可以用任何題材去畫。

──段建宇

DUAN JIANYU 段建宇

青年移工 「殺馬特」 段建宇擅長以敘事性繪畫手法，將瑣碎的片段與 細節連結以超現實的繪畫風格演繹現實生活中荒 誕與趣味。《殺，殺，殺馬特 No.2》(Lot 3) 充滿 敘事色彩的文本構圖，訴說一隻充滿疑惑的小猴 子，正觀看四位站在被肢解的動物殘骸之後的非 洲人場景，畫面中暗藏多重精心的佈局與暗示， 藝術家運用超現實主義風格重新詮釋「殺馬特」 這個文化現象。

「Smart」─「殺馬特」 「殺馬特」是英文「Smart」的原音，可以指稱 「滑稽的想死」，現在被借為形容迷失在中國城 市化浪潮的年輕移民。 這些來自鄉村的青年移工，為了使造型外表迎合 潮流趨勢，他們模仿歐美日本視覺系的服飾和造 型，五顏六色的頭髮、稀奇古怪的服飾和搞笑的 自拍，整體形塑怪誕的青年文化。他們是代表中 國青年的一個文化現象，來自二、三線城市的青 年移工，運用特立獨行的「殺馬特」通過譁眾取 寵的外形，表達自己的個性，面對充滿陌生冷漠 的大城市，他們選擇模仿極端的造型尋獲在城市 裡「抱團取暖」的團體歸屬感。

殺馬特黑化 出生於農業重鎮河南的段建宇，從2007年開始嘗 試鄉村題材，她將藝術女神安置於農村場景之中， 從此「我不再回避農村題材，我考慮得更多的是怎 樣才能把農村表現得更有意思。」同樣有著從鄉村 來到城市的經歷，段建宇以敏感的觀察力，捕抓 「殺馬特」這個有趣的社會現象。於2014年的開 展了「殺馬特」系列，進行對此社會狀態，挪用與

原始、稚拙的形象，也恰恰符合「殺馬特」群體所 散發的鄉土味，展現了原始性。而右下方的猴子則 是藝術家本人的化身，昂首端詳著站在巨石上的領 袖人物，她就如同一個文化觀察者，旁觀中國社會 光怪陸離的現象，《殺，殺，殺馬特 No.2》運用 幽默感及戲謔性的手法，反映青年移工介於城市與 鄉村之間的拉扯。 兩種文化差異的衝突對抗是段建宇長期關注的議 題，她總是以揶揄調侃的角度進行社會現象解讀。 以非洲人物的造型指代「殺馬特」更是一個前所未 有的意象，她嘗試以虛構的故事文本架構怪誕的社 會現象，作品中充滿深刻寓意的幽默感。

調侃。這些街頭青年強烈的視覺化造型，讓她聯想 到非洲黑人臉上彩繪圖騰，因此她將筆下人物形象 幻化為白色臉譜的非洲人，創作《殺，殺，殺馬特

芳人 貝茲族《面具》19世紀末作 美國 紐約 大都會藝術博物館藏 Fang-Betsi Artist, Face Mask , Late 19th Century, Collection of The Metropolitan Museum of Art, New York, USA

No.2》。藝術家將畫面中的人物援用「馬列維奇」 刻意強調的體積感，厚實的肩膀與身軀，他們看似

MODERN AND CONTEMPORARY ART

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DUAN JIANYU

"Sha Ma Te" Young Migrant Workers

Duan Jianyu specialises in narrative painting, linking trivial fragments and details in a surreal style of painting to depict the absurdity and fun of real life. The narrative text composition of Sharp, Sharp, Smart No. 2 (Lot 3) tells of a puzzled little monkey watching four Africans standing behind the mutilated remains of an animal. There are many elaborate layouts and allusions in the picture, and the artist uses a surrealist style to reinterpret the cultural phenomenon of "Sha Ma Te".

「SMART」-SHA MA TE "Sha Ma Te" is the original pronunciation "Smart" in English.

"Smart" originally means "funny as hell" in English, and is now used to describe young migrants who are lost in the wave of urbanisation in China.

These young migrant workers from the countryside imitate the European, American and Japanese Visual Kei clothing and looks in an attempt to fit in the city in terms of looks and appearances. With their colourful hair, bizarre clothing and funny selfies, all creating an overall bizarre youth culture. They are a cultural phenomenon representing

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POLY AUCTION HONG KONG

the youth of China, young migrant workers from secondtier cities who express their individuality through their idiosyncratic "Sha Ma Te" and their claptrap appearance. In the face of the strange and indifferent big city, they choose to imitate extreme looks to find a sense of belonging in the city as a group.

SHA MA TE MELANIZATION Duan Jianyu was born in Henan, an important agricultural province and began experimenting with rural themes in 2007, placing her artistic goddesses in rural scenes. Since then, "I no longer avoid rural themes, I think more about how to make them more interesting". Having also the same experience of coming from the countryside to the city, Duan Jianyu's sensitive observation has enabled her to capture the interesting social phenomenon of the "Sha Ma Te". In 2014, she launched the Sha Ma Te series, which attempts to appropriate and ridicule with this social phenomenon.

The strong visualisation of these street youths reminded her of the painted totems on the faces of Black Africans, so she transformed her characters into white-faced Africans to create Sharp, Sharp, Smart No. 2. The artist's figures in the

保羅·高更《三名大溪地 婦女》1986年作 美國 紐 約 大都會藝術博物館藏 Paul Gauguin, Three Tahitian Women , 1986, Collection of The Metropolitan Museum of Art, New York, USA

painting use the deliberately voluminous, thick shoulders and bodies of Malevich, and their seemingly primitive and uncomplicated appearance is in keeping with the rustic, primitive nature of the "Sha Ma Te" group.

The monkey at the bottom right is the embodiment of the artist herself, standing tall and looking up at the leader on the boulder, as if she were a cultural observer of the bizarre phenomena of Chinese society. The Sharp, Sharp, Smart No. 2 is a humorous and playful look at the tug of war between the city and the countryside for young migrant workers.

The conflict and confrontation between the two cultures has been a long-standing concern of the artist, who has always interpreted social phenomena in a derisive way. The use of African characters to refer to the "Sha Ma Te" group is an unprecedented idea. As she attempts to use fictional story texts to frame bizarre social phenomena, her works are filled with a profound sense of humour.

Sha Ma Te is a dislocation of young people from third and fourthtier cities who imitate European, American and Japanese Visual Kei, with a strong local character. The two ‘S’ in the title are considered from a syllabic point of view, as well as from the lightness and emphasis of the tone of voice, so that the rhythm of speech is soothing, ease the seriousness. My hair was a bit exaggerated in the past, and people would laugh at me when we talked “Sha Ma Te” or “hair-cut boy”. I don’t mind, so I use this word out of convenience, which is also a metaphor for the misinterpretation, absorption and dislocation of foreign cultures in the local context.

The breadth of the subject matter allows me to paint with any specific subject matter.

- Duan Jianyu

PROPERTY FROM A PROMINENT AMERICAN PRIVATE COLLECTION 美國顯赫私人收藏

3 DUAN JIANYU 段建宇 CHINESE, B. 1970

Sharp, Sharp, Smart No. 2

殺，殺，殺馬特 No.2

Painted in 2014 oil on canvas 181 x 217 cm. (71 1/4 x 85 1/2 in.) signed and dated 'DJY 2014' (bottom)

2014 年作 油彩 畫布 款識：DJY 2014 （底部）

PROVENANCE

Vitamin Creative Space, Guangzhou, China Acquired from the above by the present owner EXHIBITED

China, Guangzhou, Mirrored Gardens, Sharp, Sharp, Smart, 20 March-29 May, 2016.

LITERATURE

Sharp, Sharp, Smart, Vitamin Creative Space, Guangzhou, China, 2016 (illustrated, p. 5).

HK$ 1,200,000 - 1,800,000 US$ 153,800 - 230,800 16

POLY AUCTION HONG KONG

來源

中國 廣州 維他命藝術空間 現藏者購自上述來源 展覽

2016年3月20日-5月29日「殺，殺，殺馬特」鏡花園 廣 州 中國 出版

《殺，殺，殺馬特》維他命藝術空間 廣州 中國 2016年 （圖版，第5頁）

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塗鴉先生

鳥山 出生於英國的塗鴉先生原名山姆．考克斯，2015年開始正式 使用塗鴉先生活躍於畫壇，他認為：「塗鴉先生是住在『塗 鴉世界』的，在這個世界中所表達的每件事，就是我生活細 節上的放大版；山姆是一個對世界很敏感的人，透過塗鴉先 生，將我所感悟的，呈現於他所存在的世界中。」他以連綿 不絕的線條，打造一種密集性自然流動的繪畫風格，看似迷 宮般的圖騰，是由一個個趣味角色串連組成。2017年塗鴉先

我畫的一個形狀，會自然引領 至另一個形狀，最後就像意粉 般糾纏在一起。如果你放手由

它，它就會在創作平面上自由

流動。這種好像包裹著物件、 牆壁的創作，我很喜歡。

──塗鴉先生

生一系列大型的塗鴉項目使他聲名大噪，他使用麥克筆無間 斷即興的，將碩大的空間覆蓋上天馬行空的符號，從地面到 天花板沒有任何角落的倖免，驚人的天賦與順手捻來的構圖 能力，頓時將他推上藝術浪潮的最前緣，使他成為藝術界廣 泛討論的關注人物。 《鳥山》(Lot 4) 是藝術家成名後在韓國首個大型個展創作作 品，以韓國國旗的三原色黑、藍、紅創作「韓國」系列三件 作品，而其中藍色的《鳥山》是最大尺幅的一件。有別於早 期大型壁畫形式的噴漆繪畫，架上繪畫無論時間充裕性或是 媒材的選擇，都提供畫面更細緻的造型與結構。除了物件尺 寸精細縮小，物件間除了運用線條分隔，更添加小型符號像 是雲朵、愛心、水滴為過渡，錯落大小不等的圖形使畫面更 有層次。另外在輪廓線的勾勒基礎上，添加許多細節，像是 人物不同的手勢、著色的頭髮和帽飾，鏤空與實色的虛實對 比，暗示欣賞者觀賞的重點，避免視覺在鋪天蓋地的塗鴉中 迷失。更為重要的是，過去無釐頭擬人化生物造型，也依循 作品名稱發展成更有主題感，我們從畫面中不論是象徵性物 件，山脈、動物、古老廟宇、傳統服飾、著名的地標，甚至 是國旗，都強烈地呼應主題。正正顯示藝術家創作並不是靈 光乍現無目的性的揮毫，而是對其文化與社會狀況深入研究 了解後的精心巧妙安排。 韓國古稱為「虎國」，延續中華傳統文化中很多與虎有關的 神話，具有源於重視「德」與「仁」的儒教核心價值觀與樂 觀詼諧的天性。塗鴉先生在《鳥山》畫面中將老虎表現為有 神通力和氣魄的靈物，以不同姿態分佈於構圖，貫串整體畫 面的主軸。藝術家將傳統的精神象徵物以輕鬆愉快的的塗鴉 繪畫方式呈現，不僅展示作為一個外來者對於東方傳統美德 的讚頌，同時他運用其畫筆將傳統與當代美學的銜接，正如 同他所說：「我的動機一向是創造一種通用的即興塗鴉語 言，吸引來自世界各地的人們，並與他們接軌。」

MR. DOODLE MR. DOODLE

BIRD MOUNTAIN Born in the UK, artist Sam Cox formally adopted the name Mr. Doodle to become a painter in 2015. "Mr. Doodle lives in a 'DoodleWorld', everything he expresses in this world is a magnified version of the details of my life. Sam is a very sensitive person. I manifest what I feel through Mr. Doodle's world." says the artist. Mr. Doodle uses continuous lines to create a naturally flowing style of dense patterns and labyrinthine totems composed of interesting characters.

In 2017, Mr. Doodle created a series of large doodles that made him famous. Using his markers, he doodled seemingly unending improvised pieces, covering the huge space with patterns and symbols. From the floor to the ceiling, he left no corner un-doodled. Mr. Doodle's astonishing talent and deft composition made him an overnight sensation in the art world.

Bird Mountain (Lot 4) was a part of the artist's first largescale solo exhibition in South Korea after he achieved fame.

He used the three primary colours of the Korean flagblack, blue and red-to create the three works of the Korea series, among which Bird Mountain is the largest. Unlike his early large-scale murals, which he created with spray paint, no matter how much time is spent or what materials are used, painting an easel-mounted canvas enabled Mr. Doodle to achieve more detailed shape and structure in his images. Objects are smaller and more condensed, and are separated by lines, with small symbols, such as clouds, hearts and water droplets added as a transition. Scattered icons of different sizes provide the image with a visual hierarchy. On the foundation of the outlines, the image is rich with added details, such as the characters' different gestures and colourful hair, clothes, and hats. The contrast between perforated and solid colours suggests a visual focal point that allows viewers to avoid becoming lost in the overwhelming tangle of doodles. More importantly, the whimsical anthropomorphic biological modeling of past

works has also developed to become more thematic, as per the name of the work. We can clearly see the theme of the image reflected in various elements, from symbolic objects, mountains and animals to ancient temples, traditional costumes, famous landmarks, or even the national flag.

It shows that the artist's creation is not an aimless doodle produced from a spontaneous flash of inspiration, but a careful and ingenious arrangement of cultural and social references.

The inheritor of many traditional Chinese myths about tigers, South Korea was known in ancient times as the "Tiger Country". Tigers represent the Confucian core values of virtue and benevolence, as well as a naturally optimistic and humorous disposition. In Bird Mountain, Mr. Doodle presents the tiger as a spiritual object with supernatural power and spirit. Tigers appear throughout the composition in different poses and form the central axis of the whole image. By depicting traditional spiritual symbols through lighthearted doodling, the artist not only pays homage to the traditional virtues of the East, he also uses his marker to link traditional and contemporary aesthetics. As Mr. Doodle says, "My intention has always been to create a universal doodle language that can relate to and attract people from all over the world."

南韓 首爾 ARA Art Center「Doodle World」展覽現場 Exhibition view of "Doodle World" at the ARA Art Center, Seoul, South Korea

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4 MR. DOODLE 塗鴉先生 BRITISH, B. 1994

Bird Mountain

鳥山

acrylic on canvas 199.5 x 299 cm. (78 1/2 x 117 1/2 in.) signed 'MR DOODLE!' (lower right)

壓克力 畫布 款識：MR DOODLE!（右下）

EXHIBITED

South Korea, Seoul, ARA Art Center, Doodle World-A Mr. Doodle Exhibition, 4 July-9 September, 2018.

HK$ 1,800,000 - 2,800,000 US$ 230,800 - 359,000

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POLY AUCTION HONG KONG

展覽

2018年7月4日-9月9日「塗鴉世界─塗鴉先生個展」 ARA藝術中心 首爾 韓國

MODERN AND CONTEMPORARY ART

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松山智一

空心月球的假設 松山智一以充滿日本「四時風物」感的傳統美學結合西方表

的張力，詩意的氛圍與武士精神也形成了對立卻統一的衝

現主義強烈的色彩，將不同的繪畫技巧和多元的審美價值融

突感，使畫面的敘事延展出無限的遐想空間。《空心月球

為一體，形成一個和諧統一的圖像。《空心月球的假設》

的假設》還體現了松山將裝置的觀念與繪畫融合，以極簡

(Lot 5) 是松山智一標誌性的異形繪畫，優美流暢的線條構

抽離的鏤空圓形代一輪滿月，他不僅挪用了一個大膽的天

成的作品輪廓呼應著熠熠生輝的畫面，為觀者帶來歡快綺

文假說概念並將其視覺化，同時在豐富的敘事性中加入了

麗的視覺感受。正如松山智一繪畫中特有的「將時空之間

「虛」與「實」及「抽象」與「圖像化」之間的對比，為

大量元素提取並重構」的「拼湊式」圖像內容，《空心月

畫面帶來飄忽不定的虛擬感和多種意涵的思考空間。

球的假設》完整體現出藝術家將日本傳統文化與西方觀念 的交融。本作出現大量的浮世繪元素的挪用，並將其與當 代的視覺表現手法相結合，例如人物部分的構圖與姿態類 似尾形月耕對日本武士風姿的塑造，但兩位青年的形象則 更像現實生活中即將「出征」戶外的美國童軍，這兩個形 象雖然跨越時空，但精神相通，為作品奠定了充滿鬥志的 精神特質。松山智一對背景的設計則更多的讓人聯想到風 景浮世繪大師歌川廣重利用生動的明暗技巧來完成他對四 季自然景色的描繪與讚頌，松山將色彩奪目的人物置身於 浪漫的雪夜之中，周圍繁花錦簇，不僅在色彩上構成巨大

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松山智一作為美籍日裔的藝術家，自身也深受多元文化的浸 染，他師法日本傳統文化，以耀眼的螢光色彩來描繪語義豐 富、繁複多元的超現實圖景，呈現出一種古典繪畫和當代視 覺體驗相互碰撞的平衡感。2017年，松山智一在香港舉行 「Oh Magic Night」個展，展出其最具代表性的、神話般絢 麗奪目的架上繪畫和雕塑作品，《空心月球的假設》作為借 展作品也出現在該展覽當中，並與其抽象華麗的大型雕塑交 相輝映，當時被藝術家評論為「就像整個展覽中的寶石一 樣」，足顯本作在藝術家心中的份量。

a contrast between the 'virtual' and 'real' as well as 'abstract' and 'pictorial' to the rich narrative, bringing to the painting a sense of erratic virtualism and a variety of connotations.

As a Japanese-American artist, Tomokazu Matsuyama is also deeply influenced by multiculturalism. Based on the inheritance of traditional Japanese culture, dazzling, fluorescent colours are used to depict semantically rich, complex and multifaceted surreal scenes, presenting a balance of classical painting and contemporary visual experience. In 2017, the artist held a solo exhibition titled "Oh Magic Night" in Hong Kong, featuring his most iconic, mythical and dazzling easel paintings and sculptures. Hollow Moon Hypothesis was also presented as a loan work in the exhibition, which was complemented with a gorgeous large abstract sculpture that the artist commented at the time was "The painting gave a very nice charactor to the entire exhibition almost like a gem just before my large scale sculpture installation", demonstrating the significance of this work in his mind.

With a traditional aesthetic imbued with a sense of the 'four seasons' of Japan and the strong influence of Western Expressionism, Tomokazu Matsuyama combines different painting techniques and diverse aesthetic values to form a harmonious and unified image. Hollow Moon Hypothesis (Lot 5) is one of his iconic shaped paintings, the graceful lines of which echo the shimmering contours of the painting, bringing a joyful and beautiful visual experience to the viewer. Like the 'patchwork' pictorial content of his paintings, which 'extracts and reconstructs a large number of elements from time and space', Hollow Moon Hypothesis is a complete expression of the artist's fusion of traditional Japanese culture and Western concepts. The present work shows a great deal of appropriation of ukiyo-e elements, combining them with contemporary visual expressions, such as the composition and posture of the figures, which resemble Ogata Gekko's portrayal of the Japanese samurai. Yet the two young men depicted in this piece of work are more like reallife American Boy Scouts about to 'conquer the wildness'. These two images, although existing in different time and space, are connected in spirit and set the scene for a work that is full of fighting spirit.

Matsuyama's design of the backdrop is more reminiscent of the master of landscape ukiyo-e, Hiroshige Utagawa who used vivid light and dark techniques to complete his depiction and celebration of the natural scenery of the four seasons. Matsuyama has placed the colourful figures in the midst of a romantic snowy night, surrounded by flowers, which not only creates a great tension in colour, poetic atmosphere and the samurai spirit also form a contrasting yet unified sense of conflict, extending the narrative of the painting into an infinite space of imagination. Hollow Moon Hypothesis also embodies Matsuyama's fusion of the concept of installation with painting, replacing a full moon with a minimalist, hollow round shape. He not only appropriates and visualises a bold concept of astronomical hypothesis, but also adds

尾形月耕《武林唯七隆重》1902年作 英國 倫敦 大英博物館藏 Ogata Gekkō, Akebayashi Tadashichi Takashige , 1902, Collection of The British Museum, London, UK

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5 TOMOKAZU MATSUYAMA 松山智一 JAPANESE, B. 1976

Hollow Moon Hypothesis

空心月球的假設

Painted in 2014 acrylic and mixed media on canvas 143.5 x 152 cm. (56 1/2 x 60 in.) titled, dated and inscribed '"Hollow Moon Hypothesis" 10.2014 NYC'; signed with artist's signature; signed in Japanese (on the reverse)

2014 年作 壓克力 綜合媒材 畫布 款識："Hollow Moon Hypothesis" 10.2014 NYC；藝術 家簽名；松山智一（畫背）

PROVENANCE

Christie's Hong Kong, 29 May 2016, Lot 127 Acquired from the above sale by the present owner EXHIBITED

China, Hong Kong, Oh Magic Night, The Pulse, 19 March-9 April, 2017.

LITERATURE

Tomokazu Matsuyama, Hong Kong Contemporary Art Editions LTD., Hong Kong, China, 2017 (illustrated, p. 83).

HK$ 650,000 - 1,000,000 US$ 83,300 - 128,200

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來源

佳士得 香港 2016年5月29日 編號127 現藏者購自上述拍賣 展覽

2017年3月19日-4月9日「Oh Magic Night」The Pulse 香港 中國 出版

《松山智一》香港當代藝術基金會 香港 中國 2017年（圖 版，第83頁）

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星星

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POLY AUCTION HONG KONG

YOSHITOMO NARA 奈良美智

♦☆♦☆♦☆ 奈良美智曾說：「圖書內一幅簡單的圖案就包含 著一整個故事。」2012年《星星》(Lot 6) 將他數 個經典象徵圖示濃縮成一個故事，身著略為衣衫 不整紅色連衣裙、上挑綠色雙眼的小孩右臉頰貼 著紗布、手指向自己左方召喚出由小漸大的六顆 四角星、而畫面左方則是一顆聖誕樹，看似單純 的孩童，卻包含無數與當下生活息息相關的訊息 符號，奈良美智筆下的孩童從來就不只是可愛的 象徵，他是藝術家對社會關照的強烈呼喊，希望 藉由童真的形象，引發觀者的強烈共鳴，激起普 世對隱匿於表象下複雜更深層次的哲思與探究。

可愛的女孩＋熱血的男孩 《星星》筆下的小孩無論是身著全紅連衣裙或是旁 分俏麗短髮都與《Ｓ—女孩》的樣貌雷同，但其受 傷貼繃帶的臉龐又像是《憤怒的藍色男孩》血氣方 剛的男孩。就如奈良美智曾說：「我不認為她是女 孩，因為她/他是一個中性的形象，只是突然出現 在我腦海里的畫面，對我來說，沒有明顯的性別， 因為人在長大後都會變成女人或男人，小孩則是 很中性的，這就是在我眼中的他們。」奈良美智將 《星星》畫中小孩形塑為中性的樣貌，可以說是具 備其筆下可愛女孩和熱血男孩的集合體，奈良美智 從來重視的都不是人物的性別，而是專注在塑造孩 童的形象，因為他認為孩童時期是一個不需要在意 他們反應可以真實生活年代，以此不斷來表現他對 回到童年狀態的渴望。

這小星星的出現是因為我小時候父母都說人死 了就會變成星星，我的祖父母也就在天上守護

我們，因此我小時候都喜歡躺著跟星星說話。 直到現在，當大家都在日間工作，以太陽作伴 時，我卻總在深夜工作，以星星為伴。小星星

奈良美智《S—女孩》1998年作 Yoshitomo Nara, S-Girl , 1998

的出現是它們令我有親切的感覺吧！

──奈良美智

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聖誕樹 聖誕節一直都是小孩們最喜歡的節日，想必也是奈 良美智最喜歡的。從1990年代初，他每年都會繪 畫一或二張關於聖誕節題材的作品，「我的全部作 品其實是我內心的自畫像，是和自己的對話。至於 說這些圖像的來源，是在對話的過程中回憶自己的 童年時代」。創作於2012年，《星星》畫面中不 遠處的聖誕樹代表著奈良美智童年的聖誕節回憶， 同年奈良還發行了聖誕樹造型的《森子》立體雕 塑，聖誕樹數度以不同形態出現，無論是平面、雕 塑、甚至是衍生性商品，都代表藝術家對於聖誕節 濃厚的情感。

福島核災 2011年日本發生311大地震，強大海嘯連帶造成 福島核電廠發生前所未有的核災。巨大的災害造 成許多嚴重的死傷與破壞，「滿目瘡痍的景象， 我深深受到震撼。」深刻的衝擊讓他創作靈感蕩 然無存，一度無法作畫，直到調整好心情後，重

1.

新出發，面對畫面的態度有了明顯的改變。「開 始可以畫畫了。但是無法用像以前那樣的速度 畫。即使如此，我覺得慢慢地變得可以畫出更有 深度的作品。重疊色彩、與所畫的臉仔細對話， 這並非我自己單方面地畫著，而是與正在畫的對 象一邊對話、一邊畫著的感覺。」 畫面主角的紅衣垂落露出右肩，在奈良作品中非常 少見，首次出現在2011年創作的《核能寶貝》— 佇立於一團團黃綠色爆炸煙霧中，主角由於爆炸的 威力造成其衣領拉扯。《星星》中些微露出肩膀的 衣著，便是源於《核能寶貝》。同樣有一雙長橢圓 形綠眼睛，但過去叛逆不屑的眼神，逐漸收斂為思 考與擔憂。「我筆下的她都有強烈的表情，但你看 近日的她，表情沒有那麼明顯了，看起來不是明顯 的笑或怒，還似乎有點目無表情，但其實只要觀看 者心情平靜，反而能在她臉上看上錯綜複雜的情 緒，這大概是我近年的轉變。」奈良美智將本該天 真無邪的孩童形象，搭配與之年紀不符合的耐人尋 味的表情，將作品提升至不同的精神層面，藉以反 思重要的社會議題，同時暗示著畫家對人類生存處 境的擔憂。

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2.

永願不滅的星星

跳動錯覺，刻意使用無數圓形的交疊還原繪畫的 過程，顯示他不滿足刻板片刻的光色追求，而是

縱然在過去奈良美智經常使用星星在他的創作之

嘗試表現光影變化時間的更迭流轉，於平面中突

中，但直到2011年他用壓克力在四角星木板創作

破時間的限制，創造非靜止的視覺經驗，開啟畫

一件寫有「HELP」才系統性的發展這個主題，甚

者內心對話的新的表現手法。

至於2015年展出命名為「星星」個展。「在最近 的作品中，星星愈來愈多，與其說是宇宙星空裡 頭的星星，不如更像是一種閃閃發亮的存在，對 我而言，發亮的東西意指不會馬上消失，和『無 常人生』的想法有重疊。」星星在過去作品作為 元素符號不斷積累在奈良創作中，然而2011年 後，當他對人生有嶄新的體會後，了解即使生命 無常，但是精神是永遠恆定不滅，就像畫面中六 顆閃亮的星星。

非靜止的視覺經驗 仔細觀看《星星》中孩童的服裝，貌似單一色的 鮮紅，由無數圓形的相近色塊交織，夾雜黃色、

1. 奈良美智《憤怒的藍色男孩》2008年作 Yoshitomo Nara, Angry Blue Boy , 2008

褐色、橘色彷彿是陽光傾瀉灑落於物體上光斑 點點的視覺效果。「在女孩的頭髮、眼睛與衣

2. 奈良美智《20世紀末聖誕快樂》2000年作 Yoshitomo Nara, Merry Christmas for the End of the 20th Century , 2000

服上，刻意地保留顏色與筆觸的創作過程的痕 跡。」奈良美智透過留存創作過程中色彩疊加的

3. 奈良美智《核能寶貝》2011年作 Yoshitomo Nara, Atomkraft Baby , 2011

軌跡，層層堆疊疏密度的差異，製造自然光線的

Lot 6

3.

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YOSHITOMO NARA

♦☆♦☆♦☆ As Yoshimoto Nara once said, "Any simple picture in a book can tell a whole story." Stars (2012) (Lot 6) compiles many of his classic symbols into one story. The image features a child with green almond-shaped eyes and a gauze covering the left cheek wearing a red off the shoulder dress. The figure's finger points to the left, summoning six four-pointed stars in ascending order. A Christmas tree is visible in the bottom left corner. The innocent-looking child embodies many symbols with a significance to life because the children Nara creates are never just about cute appearances. Through these naive child-like images, the artist makes a call for social care, hoping to resonate with viewers and evoke more thoughts and inquiries about invisible elements on a more complex and deeper level.

THE CHARACTERISTICS OF AN ADORABLE GIRL AND PASSIONATE BOY The child depicted in Stars resembles the character in S-Girl as they both wear a red dress with hair parted to the side.

Additionally, the gauze on their cheek somewhat looks like the one on the character in Angry Blue Boy. According to Nara, "I do not think the character is a girl because it reflects a gender neutral image that suddenly came across in my mind. To me, the concept of gender is not apparent.

Although people grow up to become women or men, children remain neutral in my eyes." Nara's portrayal of a gender-neutral child in Stars mixes the adorableness of a girl with the passion of a boy. Instead of focusing on the character's gender, he concentrates on enriching the childlike image because he believes childhood is the only phase when people can live truthfully without worrying about other people's reactions. Through this recurring theme, Nara expresses his desire to return to childhood.

CHRISTMAS TREE Christmas has always been the favorite holiday for children.

This is presumably true for Nara as well. Since the 1990s, Nara has been creating one or two Christmas-themed paintings every year. "All of my works serve as internal portraits or dialogues. These images are a recollection of my childhood memories." In Stars, the Christmas tree represents Nara's Christmas memories during childhood.

During the same year, Nara also launched Mori Girl, a Christmas tree-like 3D sculpture. Through a recurring display of the Christmas tree across different forms, such as graphics, sculptures, and even merchandise, the artist expresses his deep emotional connections with the holiday.

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1.

THE FUKUSHIMA NUCLEAR DISASTER In 2011, the 311 Earthquake struck Japan, bringing a large tsunami that resulted in an unprecedented nuclear disaster at the Fukushima Nuclear Power Plant. The catastrophe caused significant casualties, injuries, and damage. The devastation was shocking to Nara. Deeply impacted, Nara lost all creative inspiration and had to stop painting at one point. When Nara finally returned, there was a change in his attitude towards painting. In his words, "I could paint again, but no longer at my previous pace. Nevertheless, I felt that I could gradually insert more depth into my works through overlapping colours and dialogue with the characters. It was no longer a one-sided process as I became engaged with the characters I drew."

In this painting, the subject's exposed right shoulder is a feature rarely seen in Nara's works. This element first appeared in the 2011 work, Atomkraft Baby, in which the subject stands amidst yellow-green smoke with a misplaced collar due to the explosion. This was the inspiration for the off-shoulder dress in Stars. While both characters have long, oval green eyes, the previously rebellious, disdainful glance has now converged into deep worry and concern.

"I used to draw characters with strong facial expressions.

This has become less apparent in recent creations. The character looks stony-faced with no obvious emotions.

Interestingly, viewers with a calm and peaceful mood will find many complex emotions on her face. This is perhaps one of my recent transformations." By combining innocent child-like images with intriguing adult expressions, Nara

brings his works to a different spiritual level that not only reflects important social issues, but also implies the artist's worries about the existence of humankind.

EVERLASTING STARS Although Nara often features stars in his works, he did not systematically develop a star series until his 2011 work consisting of a four-pointed star wooden board with the words "HELP" in acrylic paint. These stars went on to become the title of Nara's solo exhibition in 2015. As Nara expressed, "The growing emergence of stars in my recent creations signifies an element that sparkles beyond the night sky. To me, sparkling objects symbolize a lasting presence, following a similar concept as the one in Life is Only One. In Nara's early creations, this element of stars appeared as a recurring symbol. After gaining new insights about life in 2011, he realized that spirits are the eternal existence in the uncertainty of life. This is expressed by the six brightly shining stars in the painting.

of overlapping spots of light. "The colours and brush strokes across the girl's hair, eyes, and dress are purposefully preserved by the artist during the creative process."

Through these colour marks and overlapping layers, Nara creates the illusion of a natural stream of light. The intentional interweaving of countless circles demonstrates his dissatisfaction with inflexible and momentary pursuits of light and shadow. Instead, he attempts to express the passing of time through changes in colour, graphically breaking the limitations of time and creating a non-static visual experience that provides a glimpse into the artist's internal world.

NON-STATIC VISUAL EXPERIENCE

1. 奈良美智《救命》2011年作 Yoshitomo Nara, HELP , 2011

Through a close look at the child's outfit in Stars, the monochromatic red appears to contain a blend of colour circles in yellow, brown, and orange, creating a visual effect

2. 奈良美智《聖誕快樂》1998年作 Yoshitomo Nara, Merry Christmas , 1998

When I was a child, my parents told me that people become stars after they die, and that my grandparents actually watch over us in the sky. That is why I always liked to lay down and talk to the stars when I was a child. Even now, as most people work during the day under sunlight, I choose to work late at night when the stars are hanging high in the sky. Perhaps these twinkling stars appear because they provide me with a sense of familiarity!

- Yoshitomo Nara 2.

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31

PROPERTY FROM A PROMINENT ASIAN PRIVATE COLLECTION

亞洲顯赫私人收藏

6 YOSHITOMO NARA 奈良美智 JAPANESE, B. 1959

Stars

星星

Painted in 2012 acrylic on canvas 44 x 45 cm. (17 1/2 x 17 1/2 in.) signed in Japanese; dated '2012' (on the reverse)

2012 年作 壓克力 畫布 款識：なら 2012（畫背）

PROVENANCE

Blum & Poe Gallery, Los Angeles, USA ShugoArts Gallery, Tokyo, Japan Acquired from the above by the present owner This work is registered in the archives of The Yoshitomo Nara Foundation under archive number YNF5637.

HK$ 5,500,000 - 8,500,000 US$ 705,100 - 1,089,700 32

POLY AUCTION HONG KONG

來源

美國 洛杉磯 Blum & Poe畫廊 日本 東京 ShugoArts畫廊 現藏者購自上述來源 此作品以編號YNF5637收錄於奈良美智基金會之文獻庫

MODERN AND CONTEMPORARY ART

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JEAN-MICHEL BASQUIAT

尚·米榭·巴斯奇亞

LOGO

創作於1984年的《Logo》 (Lot 7) 絕佳的體現了巴 斯奇亞後期作品以廣告、商標、符號、漫畫和文 本的解構與重塑對於種族與跨文化的探索，並且 展示了他在1982-1984年間諸多大師對他的影響 和對多種媒材技法的掌握。在此期間他不僅舉辦 了個展，且以最年輕的美國藝術家身份進入第七 屆卡塞爾文獻展和惠特尼雙年展，在紐約藝壇和 學術範圍都引起巨大反響，此時的他事業如日中 天，正勢不可擋的成為耀眼巨星。這一時期巴斯 奇亞天才般的用色和迷宮般的視覺符號愈加信手

1.

拈來，視覺語言已經非常成熟且包羅萬象，包括 《Logo》中所使用到的絲網技術就是源自於這期 間他與安迪沃霍爾的互相影響，利用絲網印刷技 術，他可以無限循環回收和利用自己的繪畫和符 號，這使得他這一時期的作品更加靈活複雜，創 作觀念也更具野心。 《Logo》擁有巴斯奇亞最典型的有組織、編碼 和象徵意義的獨立架空的信息識別系統，他以黑 人形象創造出了一個永遠不會被印在香菸包裝上 的香菸商標。主人公是一個睜大眼睛、身穿條紋 衫的黑人，一個巨大的救生圈像是圓圈標識，上 面寫著「菸草」，黑人的身後是等待著將他「運 往」美國的船隻。在這個戲謔的商標上，巴斯奇 亞以充滿孩子氣的幽默，隱喻了殘酷的黑人奴隸

2.

制度和菸草主題的起源以及黑人在美國南部種植 園從事苦力勞動的現實，這個煙標在巴斯奇亞作 品中也多次出現，足見其意義重大。畫面下方碎 片式的構圖與拼接再次創造了一個視覺迷宮，從 中可以看出眾多20世紀大師對他創作的影響。巴 斯奇亞持續觀察並學習了眾多20世紀的藝術家， 例如畢加索、賽·托姆布雷，但在他後期繪畫中

1. Player's Navy Cut香煙包裝設計 Player's Navy Cut cigarette package design 2. 尚．米榭．巴斯奇亞《無題》（局部）1983年作 Jean-Michel-Basquiat, Untitled (detail), 1983

MODERN AND CONTEMPORARY ART

35

影響最為深遠的是尚·杜布菲和保羅·克利。

意化的探索和表述，使得這個故事雖帶有濃厚的

《Logo》中的塗鴉看似是孩童般的輕鬆直率，

殖民色彩，卻幽默詼諧地重述了過往傷痕。縱然

實則造型精練準確，纖細硬朗的線條如保羅·克

年少成名，成為了藝術界和時尚界耀眼的寵兒，

利的蝕刻版畫和硬筆筆觸，儘管保羅·克利不屬

但巴斯奇亞深知自己只是一個文化符號，在當時

於任何一個具體的藝術流派，但他作品中的原始

很可能既沒有得到「白人代表」的「主流社會」

符號和線條與超現實的視覺特徵自由遊走深深的

真正的接納，也沒有得到「黑人同胞」的真正理

影響了巴斯奇亞，他們同樣都是詩人、都熱愛音

解，他一生都在向二元對立的「種族主義」本身

樂，因此克利繪畫中自由的色彩和線條與天馬行

宣戰，充滿銳意的反叛，卻從不宣揚對立的理念

空的視覺符號也奠定了巴斯奇亞後期迷宮般充滿

貫穿巴斯奇亞一生的創作。巴斯奇亞將閱讀與信

創造性的視覺語言。

息的力量賦予給《Logo》，用真誠和爛漫的筆觸

《Logo》展示了他藉由藝術表達了他對黑人身份

的思考空間，同時釋放了他為自身背景所承擔的

和文化根源的獨特的詮釋，他顯示出黑人共有的 集體性的歷史、記憶、文明和社會遺產，他以詩

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為大家釋放了關鍵的社會現實和隱喻了一個巨大 責任感。

JEAN-MICHEL BASQUIAT

LOGO

尚．米榭．巴斯奇亞《紐 約時報》封面 1985年 The New York Times Magazine Cover by JeanMichel Basquiat, 1985

Created in 1984, Logo (Lot 7) perfectly reflects JeanMichel Basquiat's later works exploration of the deconstruction and remodeling of advertisements, trademarks, symbols, comics and texts. It demonstrates his mastery of multiple media from 1982-1984 under the influence of many masters. During this period, he not only held solo exhibitions but also entered the 7th Kassel Documenta Exhibition and the Whitney Biennial as the youngest American artist to do so. Thus, creating a huge impact on the New York art and academic scene. By this time his career was on the rise and he was becoming an unstoppable new star. During this period, Basquiat's genius use of colour and maze-like labyrinthine visual symbols became more and more readily available, and his visual language became very sophisticated and all-encompassing, including the use of screen-printing technique in Logo, which was a result of his mutual influence with Andy Warhol during this period. This technique allows him to recycle and use his paintings and symbols infinitely, making his work of this period more flexible and ambitious.

MODERN AND CONTEMPORARY ART

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With Basquiat's most typical organized, coded and symbolic system of stand-alone, elevated messages, he creates a cigarette logo that will never be printed on a cigarette packet with the image of a Black man. The protagonist is a wide-eyed black man in a striped shirt, a giant lifebuoy resembling a circle with the word 'tobacco' written on it, and behind the Black man is a ship waiting to 'transport' him to America. In this playful logo, Basquiat uses childish humour to allude to the brutal system of Black slavery and the origins of the tobacco theme, as well as the reality of Black labour on the plantations of the American South, a fact that is repeatedly reflected in Basquiat's work. The fragmented composition and patchwork at the bottom of the painting once again creates a visual maze, revealing the influence of many 20th century masters on his work.

Basquiat observed and studied many 20th century artists persistently, such as Picasso and Cy Twombly, but the most influential of his later paintings were those of Jean Dubuffet and Paul Klee. The brushes in Logo appears to be childlike and straightforward, but in fact the shapes are refined and precise, with thin, hard lines like Paul Klee's etchings and hard brush strokes. Although Paul Klee did not belong to any particular school of art, the primitive symbols and lines of his work and the surreal visual character of his free movement had a profound influence on Basquiat, who was also a poet and a lover of music. The free colours and lines of Klee's paintings and the unconstrained visual symbolism of his paintings also established the maze-like creative visual language of Basquiat in his later period.

Logo demonstrates his unique artistic interpretation of the roots of Black identity and culture, showing the collective history, memory, civilisation and social heritage of Black people in a poetic exploration and representation of a story that while strongly colonial, is a humorous retelling of the wounds of the past. Despite his youthful rise to fame and becoming a dazzling darling of the art and fashion worlds, Basquiat knew that he was only a cultural symbol, probably not truly accepted by the 'mainstream' of 'white representation' nor truly understood by his 'Black brothers and sisters' at the time. He spent his life declaring a war on the dichotomy of 'racism' itself. The concept of 'a sharp rebellion without ever promoting the idea of opposition' is the essence of Basquiat's artistic career. Basquiat gives the power of reading and information to Logo, unlocking a critical social reality and metaphorical space for reflection with an honest and lyrical writing style, while unleashing his sense of responsibility for his own background.

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I am not a black artist, I am an artist.

- Jean-Michel Basquiat

LOGO

PROPERTY FROM A DISTINGUISHED ASIAN PRIVATE COLLECTION

亞洲頂尖私人收藏

〇

7 JEAN-MICHEL BASQUIAT 尚·米榭·巴斯奇亞 AMERICAN, 1960-1988

Logo

Logo

Executed in 1984 acrylic, oilstick and silkscreen on canvas 152 x 122 cm. (59 3/4 x 48 in.) signed and titled 'JMB "LOGO"' (on the reverse)

1984 年作 壓克力 油畫棒 絲網印刷 畫布 款識：JMB "LOGO"（畫背）

PROVENANCE

Gagosian Gallery, Los Angeles, USA Galerie Beaubourg, Paris, France Private Collection, Marciano Christie’s New York, 19 November 1992, Lot 445 Private Collection, New York, USA Private Collection, USA Sotheby’s Paris, 7 December 2010, Lot 11 Private Collection, New York, USA Opera Gallery, Hong Kong, China Sotheby’s Hong Kong, 30 September 2018, Lot 1058 Gagosian Gallery, Hong Kong, China Acquired from the above by the present owner EXHIBITED

France, Paris, Galerie Beaubourg, Jean-Michel Basquiat, Peintures 82-87, 9 January-16 February, 1988.

USA, New York, Whitney Museum of Art, Jean-Michel Basquiat, 23 October, 1992-14 February, 1993.

USA, Coral Gables, Quintana Galleries, Jean-Michel Basquiat, 17 December, 1996-21 February, 1997.

Austria, Vienna, Kunst Haus Wien, Jean-Michel Basquiat, 11 February-2 May, 1999.

LITERATURE

Jean-Michel Basquiat, La Différence, Paris, France, 1989 (illustrated, p. 109).

Jean-Michel Basquiat, Whitney Museum of Art, New York, USA, 1993 (illustrated, p. 191).

Jean-Michel Basquiat-Vol. II, Galerie Enrico Navarra, Paris, France, 1996 (illustrated, first edition, plate 7, p. 90).

Jean-Michel Basquiat Vol. II, Galerie Enrico Navarra, Paris, France, 1996 (illustrated, second edition, plate 7, p. 122).

Jean-Michel Basquiat, Quintana Gallery, Coral Gables, USA, 1996 (illustrated, pp. 30-31).

Jean-Michel Basquiat, Kunst Haus Wien, Vienna, Austria, 1999 (illustrated, p. 72).

Jean-Michel Basquiat Vol. II, Galerie Enrico Navarra, Paris, France, 2000 (illustrated, third edition, plate 4, p. 191).

HK$ 11,000,000 - 22,000,000 US$ 1,410,300 - 2,820,500 40

POLY AUCTION HONG KONG

來源

美國 洛杉磯 高古軒畫廊 法國 巴黎 Beaubourg 畫廊 Marciano 私人收藏 佳士得 紐約 1992年11月19日 編號 445 美國 紐約 私人收藏 美國 私人收藏 蘇富比 巴黎 2010年12月7日 編號 11 美國 紐約 私人收藏 中國 香港 Opera畫廊 蘇富比 香港 2018年9月30日 編號 1058 中國 香港 高古軒畫廊 現藏者購自上述來源 展覽

1988年1月9日-2月16日「尚·米榭·巴斯奇亞繪畫 82-87」Beaubourg 畫廊 巴黎 法國 1992年10月23日-1993年2月14日「尚·米榭·巴斯奇 亞」惠特尼美術館 紐約 美國 1996年12月17日-1997年2月21日「尚·米榭·巴斯奇 亞」Quintana畫廊 科勒爾蓋布爾斯 美國 1999年2月11日-5月2日「尚·米榭·巴斯奇亞」維也 納博物館 維也納 奧地利 出版

《尚．米榭．巴斯奇亞》La Différence出版社 巴黎 法 國 1989年（圖版，第109頁） 《尚．米榭．巴斯奇亞》惠特尼美術館 紐約 美國 1993 年（圖版，第191頁） 《尚．米榭．巴斯奇亞第二冊》Enrico Navarra畫廊 巴 黎 法國 1996年（圖版，第一版，第7圖，第90頁） 《尚．米榭．巴斯奇亞第二冊》Enrico Navarra畫廊 巴 黎 法國 1996年（圖版，第二版，第7圖，第122頁） 《尚．米榭．巴斯奇亞》Quintana畫廊 科勒爾蓋布爾 斯 美國 1996年（圖版，第30-31頁） 《尚．米榭．巴斯奇亞》維也納博物館 維也納 奧地利 1999年（圖版，第72頁） 《尚．米榭．巴斯奇亞第二冊》Enrico Navarra畫廊 巴 黎 法國 2000年（圖版，第三版，第4圖，第191頁）

MODERN AND CONTEMPORARY ART

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尚·米榭·巴斯奇亞

黑人英雄 王者傳說 彰顯了傳奇藝術家巴斯奇亞坦率又神秘的魅力的 《無題》(Lot 8)，在闊別市場22年後，重回人們視 線焦點的亞洲拍場。這張1981年的鉅作以充滿鬥 志的、非洲面具一般的黑人面孔為核心，這是他早 期以拼貼為主的畫面中，非常初始的、奠基一般的 擁有黑人面孔為符號的作品，且這一符號終身伴隨 巴斯奇亞的繪畫，成為其最具個人風格的視覺語 言。《無題》描繪了一位充滿英雄主義、神秘莫 測的人物，畫面有充滿象徵意味的、語義豐富的符 號；來自非洲、埃及等原始部落的形象；以及從爛 漫的兒童畫、美國流行文化、或是賽·托姆布雷、 畢加索、尚·杜布菲等各個時期大師素材中的提 煉，展現了巴斯奇亞對風格化視覺元素的自如提取 駕馭和非凡的藝術天賦，為巴斯奇亞筆下一系列的 藝術史碰撞之集大成，如同美國藝評家羅伯特·斯 托爾所說：「巴斯奇亞下筆迅速而堅決。那些畫面 背後的圖像彷彿超速狂飆的卡車拖著恣意燃放的煙 花，引爆全場。」

「王者」題材鉅作語義非凡 《無題》背景以飽滿的大面積的紅色與黑色相碰 撞，充滿橫衝直撞力量感的氣勢完美展現當時只 有20歲的巴斯奇亞的血氣方剛和不羈野性。畫面 以黑人作為主角且被他標誌性的「三尖王冠」加 冕。他畫作人物的形象常常來自於自己非常欽佩 的、憑藉努力在不公的社會中取得地位與成功的

無題

黑人名人，例如拳手傑西．喬．沃爾科特、棒球 明星漢克．阿倫、爵士音樂家查利．帕克和邁爾 士．戴維斯等。「王冠」則是巴斯奇亞最著名的 個人符號，早期他在紐約蘇豪區藝廊的大門上創

拳手傑西．喬．沃爾科特的照片 A photo of boxer Jersey Joe Walcott

JEAN-MICHEL BASQUIAT

作時，已開始以王冠作為自己的標誌性圖案，並 形容自己的題材為「皇室、英雄主義和街頭」， 《無題》中的人物形象正是英雄與王冠的組合， 成為了勇士與征服者的象徵。黑人王者的頭顱 如被X光穿透，臉部與五官呈現具穿透性的多層 次，他頭部高昂，姿態堅定，表情因憤怒而極具 張力。黑人胸前的三根鐵釘像是寓意剛果的能量 釘像，這也暗示了他內心的受傷與痛苦，即在英 雄主義與殉道精神之間隱含了巨大的情緒張力。 巴斯奇亞擅長以將非洲的歷史淵源提煉為象徵性 的符號語言，讓畫面的思考空間拉大，例如《無

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1.

題》中象徵印第安文化的尖頂帳篷、畫面下方黑 色線條組成的方形空間中，美國黑人街區孩子們 常常玩耍的遊戲「skelly」以及棒球的出現也展示 了巴斯奇亞孩子氣與天馬行空的一面。巴斯奇亞 通過《無題》塑造了一位孤膽英雄，同時宣告他 與黑人身分休戚與共的決心，因此這張作品也好 像他的自畫像—化身於黑王，彷彿手持利劍，如 孤勇者一般刺破混亂與黑暗，決意為自我與信仰 堅守，誓要征服對立面，取得無上榮譽。

橫空出世開創時代

2.

1978年，18歲的巴斯奇亞與朋友埃爾·狄亞 茲（Al Diaz）在曼哈頓下城區以「SAMO」（是 「same old shit」的縮寫，譯為「還是老樣子」） 為簽名在街頭塗鴉，杰弗里·德奇曾在《Art in America》中評論道：「SAMO繪畫是威廉·德庫寧 風格和地鐵噴漆塗鴉藝術的完美結合。」，一年後 巴斯奇亞在街頭寫下「SAMO is dead」宣告了他與 狄亞茲共同在街頭塗鴉創作的結束，並由此開始了 個人藝術創作。雖然巴斯奇亞早期曾創作塗鴉，但 他從不認為自己是「塗鴉藝術家」，他顯然對藝術 有更龐大和深層次的構想和追求。 儘管在他個人創作的初期以碎片化的塗鴉和拼貼為 主，但此時的作品已經透露出他對圖像、字母符 3.

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號和日常筆記的拼湊所延伸出的虛幻卻蘊含巨大

舉辦個展，作品更被搶購一空，自此他從新銳藝術

創造力的思想。1980年6月，巴斯奇亞的作品被選

家蛻變為當時最受矚目的藝術界巨星。《無題》即

入「The Times Square Show」展覽，與肯尼·沙

在這種背景下誕生，不僅代表巴斯奇亞以明日之星

夫和基斯·哈林的作品一同被展出，這場被《The

的姿態在紐約和歐洲兩大藝壇中心初試啼聲，也奠

Village Voice》譽為「80年代首場激進藝術展」

定了其後期畫作的風格語言並延續，亦作為一個傳

的展覽使得巴斯奇亞在藝術界開始嶄露頭角。而

奇般的天才藝術家的早期代表作，開啟與見證了美

1981年對於巴斯奇亞來說更是蓄勢待發，他從初

國新表現主義時代，不僅象徵巴斯奇亞個人藝術走

期的碎片化的拼貼深入到將自身身份和文化背景融

向巔峰，亦代表他向西方主流藝術發起挑戰，並在

入繪畫，並由此做出至關重要的嘗試，因此這個時

藝術史上留下翻天覆地的新篇章。

期巴斯奇亞不僅大量積蓄創作能量，在今時看來更 是橫空出世傳奇般的藝術魅力在聚光燈下轟動綻放 的序曲。這一年，他應著名策展人迭戈．柯特茲之 邀，參加MoMA PS1現代藝術中心的紐約/新浪潮群 展，也正是這次展覽為他吸引到很多當時知名的藝 術品經紀人的目光，並於同年在義大利摩德納的埃 米利奧·馬佐利畫廊舉辦首次個展，年底，藝評家 勒內．理察德在《藝術論壇》發表了論文，也意味 著巴斯奇亞的作品正式在出版物中受到學術界的檢

1. 以「SAMO」為簽名在布魯克林街頭塗鴉「SAMO IS DEAD」 "SAMO IS DEAD" street art on the streets of Brooklyn with the signature SAMO 2. 美國 紐約 現代藝術博物館 PS1 「紐約/新浪潮」展覽現場 Exhibition view of "New York/New Wave" at MoMA PS1, New York, USA 3. 賽·托姆布雷《麗達和天鵝》1962年作 佳士得 紐約 2017年5 月17日 成交價：52,887,500美元 Cy Twombly, Leda and the Swan , 1962, Christie's New York, 17 May 2017, Sold for USD 52,887,500

視與討論，次年，畫廊主Annina Nosei為他在紐約

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JEAN-MICHEL BASQUIAT

BLACK HERO, THE LEGEND OF KINGS

棒球明星漢克．阿倫的照片 A photo of baseball star Hank Aaron

After a 22-year absence from the auction market, Untitled (Lot 8) returns to the forefront of Asian auctions as a manifestation of the legendary Jean-Michel Basquiat's frank and enigmatic charm. This 1981 masterpiece, with its combative, African mask-like Black figures at its heart, is the very first, fundamental Black figures as a symbol of his early collage-based paintings. It is also a symbol that has remained with Basquiat throughout his career life as his most personal visual language. Untitled depicts a heroic, enigmatic figure with symbolic symbols full of semantic meaning. Images from primitive tribes such as Africa and Egypt, materials drawn from comic children's drawings, American pop culture, or masters of different periods such as Cy Twombly, Picasso and Jean Dubuffet are all presented in this work. The distillation of these images demonstrates Basquiat's ease of extraction and mastery of stylised visual elements and his extraordinary artistic talent.

It is a collection of art historical collisions under Basquiat's brush that, as the American art critic Robert Stoll has said, "Basquiat draws with speed and determination. The images

behind the scenes are like speeding trucks dragging a wild display of fireworks, setting the scene alight".

A MASTERPIECE FEATURING “THE KING” WITH PROFOUND CONNOTATION With its large blocks of red and black, Untitled is a powerful and rampant portrait of Basquiat's bloodlust and wildness at the age of 20. The painting is dominated by a Black man wearing his iconic 'triple-tipped crown'. Protagonists of Basquiat's paintings are often drawn from Black celebrities whom he admired for their hard work and success in an unjust society, such as boxers Jersey Joe Walcott and Joe Louis, baseball star Hank Aaron and jazz musicians Charlie Parker and Miles Davis. The 'crown' is the most famous personal symbol of the artist. He began to use it as his iconic motif in his early works on the doors of the SoHo Art Gallery in New York, describing his subject matter as 'royalty, heroism and the street'. The figure in Untitled is a combination of a hero and the crown, a symbol of warrior and conqueror. The head of the Black king looks like he's being pierced by an X-ray, his face and features are

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1.

2.

penetratingly multi-layered. His head is high, his posture is firm, and his expression is energetic with anger. The three iron spikes on his chest are a symbol of the energy spikes of the Congo, and they suggest the pain and anguish of his heart, expressing a great emotional tension between heroism and martyrdom. Basquiat's ability to distil the leaden history of Black oppression into a symbolic language allows for a wider scope of reflection. For example in Untitled, the spiked tent symbolic of Native American culture, the square of black lines at the bottom of the painting, the game 'skelly' are often played by children in African American neighborhoods, and the appearance of baseballs also demonstrate his mischievous and whimsical side. Through Untitled, Basquiat portrays a lone hero and proclaims his determination to stand in solidarity with the Black identity, and so this work is also like a self-portrait of himself as the Black King, as if he were holding a sword, like a lone warrior piercing through chaos and darkness, determined to stand up for himself and his beliefs, vowing to conquer his opponents and achieve supreme glory.

A RISING STAR SHINNING THROUGH A NEW ERA In 1978, at the age of 18, Basquiat and his friend Al Diaz painted the streets of Lower Manhattan under the signature 'SAMO' (short for 'same old shit'). Jeffrey Deitch

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commented in Art in America that "SAMO painting is a perfect combination of Willem de Kooning's style and the art of underground spray street art". A year later, Basquiat wrote 'SAMO is dead' on the streets to announce the end of his street art work with Deitch and marked the beginning

Basquiat draws with speed and determination.

The images behind the scenes are like speeding trucks dragging a wild display of fireworks, setting the scene alight - Robert Stoll

of his solo work. (Basquiat said, "I wrote SAMO IS DEAD all over the place. And I started painting.") Although Basquiat had created street art in his early days, he never considered himself a 'street art artist' and clearly has a much larger and deeper conception and pursuit of art.

Despite the fragmented street art and collage that dominated the early years of his career, his work by now reveals a fanciful, yet highly creative, vision of images, alphabetic symbols and the patchwork of everyday notes.

In June 1980, Basquiat's work was selected for exhibition in "The Times Square Show", alongside works by Kenny Scharf and Keith Haring. This exhibition, hailed by The Village Voice as 'the first radical art show of the 1980s', helped to establish Basquiat's presence in the art world. The year 1981 was the year when Basquiat was poised to make a significant move from the initial fragmented collage to the integration of his own identity and cultural background into his painting. Thus, this was a period when he not only built up a great deal of creative energy but was also the prelude to what now seems to be a legendary explosion of artistic achievements under the spotlight. That year, he was invited by the renowned curator Diego Cortez to participate in the "New York/New Wave" group show at MoMA PS1, which attracted the attention of many leading art dealers of the time. At the end of the year, he had his first solo exhibition at the Emilio Mazzoli Gallery in Modena, Italy. At the end of the same year, art critic Rene Richard published an essay in Art Forum, in which Basquiat's work was examined and discussed by academics in print for the first time. The following year, gallery owner Annina Nosei held a sold-out solo exhibition for him in New York, transforming him from an emerging artist into one of the most talked-about art stars of the time. It was against this backdrop that Untitled was created, representing not only Basquiat's debut as a star of tomorrow in the heart of both the New York and European art scenes, but also setting the stylistic language of his subsequent paintings and their continuation. An early masterpiece of a legendary artist, it opened and witnessed the era of American Neo-Expressionism, symbolizing not only the pinnacle of Basquiat's personal art achievements, but also his challenge to the Western mainstream art that meant to open up a new chapter in the history of art.

1. 巴布羅·畢加索《鬥牛：鬥牛士之死》1933年作 法國 巴黎 畢 加索博物館藏 Pablo Picasso, Bullfight: Death of the Toreador , 1933, Collection of Musee National Picasso, Paris, France 2. 威廉·德庫寧《女人II》1952年作 美國 紐約 現代藝術博物館藏 Willem de Kooning, Woman II , 1952, Collection of The Museum of Modern Art, New York, USA

PROPERTY FROM A DISTINGUISHED ASIAN PRIVATE COLLECTION

亞洲頂尖私人收藏

〇

8 JEAN-MICHEL BASQUIAT 尚·米榭·巴斯奇亞 AMERICAN, 1960-1988

Untitled

無題

Executed in 1981 acrylic, spray paint, oilstick and paper collage on canvas 122 x 142 cm. (48 x 56 in.) signed and titled 'JEAN MICHEL BASQUIAT Untitled' (on the reverse)

1981 年作 壓克力 噴漆 油畫棒 紙本拼貼 畫布 款識：JEAN MICHEL BASQUIAT Untitled（畫背）

PROVENANCE

Didier Imbert Fine Art, Paris, France Annina Nosei Gallery, New York, USA Christie’s London, 27 June 2000, Lot 42 Private Collection LITERATURE

Jean-Michel Basquiat, Galerie Enrico Navarra, Paris, France, 1996 (illustrated, p. 58).

Jean-Michel Basquiat-Vol. II, Galerie Enrico Navarra, Paris, France, 1996 (illustrated, first edition, plate 3, p. 56).

估價待詢

Estimate on Request

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POLY AUCTION HONG KONG

來源

法國 巴黎 Didier Imbert Fine Art 美國 紐約 Annina Nosei畫廊 佳士得 倫敦 2000年6月27日 編號 42 私人收藏 出版

《尚．米榭．巴斯奇亞》Enrico Navarra畫廊 巴黎 法國 1996年（圖版，第58頁） 《尚．米榭．巴斯奇亞第二冊》Enrico Navarra畫廊 巴 黎 法國 1996年（圖版，第一版，第3圖，第56頁）

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YAYOI KUSAMA 草間彌生

無限之網 草間彌生於1929年出生於日本長野縣的一個富 裕家庭，但在還不到十歲時便罹患神經性視聽障 礙，導致其時常性的出現幻覺、幻聽，造就了草 間與眾不同的思維，成名後的她經常對外表示：

「老實說，我常常被自己的精神狀況搞得很煩。 只要開始在畫布上面畫點點，接下來就會從桌子

延伸到地板，最後一路畫到自己的身上。我會周 而復始不斷重複同一個動作，讓這面點點之網無

限擴張。不知不覺之間，從手到腳到身上穿的衣 服，房間裡的一切都會被這張網覆蓋。」

──草間彌生

「若不是為了藝術，我應該很早就自殺了。」得 到生命中貴人喬治亞．歐姬芙的鼓勵和幫助， 1957年，草間彌生下定決心離開日本，隻身前 往美國，她迫不及待的要離開那極度不美滿的家 庭，遠離幼年時的恐懼。獨自居住在美國的生活 並不容易，她曾說：「我幾乎把所有賺來的錢全 部都花在畫材和畫布上，又開始繼續畫。我在偌 大的工作室裡立起一面巨大的黑色畫布，大到不 踏上梯子就構不著邊，然後在上面盡可能用纖細 的筆觸畫滿數百萬個點，完全不留空隙地編織一 面白色之網。」1959年，草間彌生於紐約首次 舉辦個展，展出的作品正是這一系列的「網」作 品，引起了當時紐約藝術界廣泛注意，多間主流 媒體爭相報導。 60年代是草間彌生彩色「無限之網」的一個開 端，顏色越來越豐富，透過多種不同對比色，創 造了更刺激的視覺體驗。2015年作的《無限之 網（BSGK）》(Lot 9) 以亮黃色打底，覆蓋在橘 紅色的網紋之下，兩種艷麗的相近色系讓人眼花 撩亂，井然有序的重複結構則帶來強烈的視覺衝 擊。草間嘗試透過這種偏執的重複性筆觸去控制 她精神上的掙扎，試圖讓自己的恐懼消融：「老 實說，我常常被自己的精神狀況搞得很煩。只要

激情的星雲，透過創作的過程草間彌生得以「自 我消融」於無限之中，來尋求心靈上的平靜。 1973年，旅居海外多年的草間彌生從美國返回東 京，在各種故鄉情懷、舊友的感化之下，她決定 留下。雖然在美國已經累積了相當的名氣與關注 度，甚至美國極簡主義的代表性藝術家唐納．賈 德早在1959年就如此高度評價草間的「無限之 網」系列：「在各方面上開創先河；震撼視覺的 畫面，單調一致的色彩，簡中見繁的結構，一筆 一線的重要性以及由色彩和細節組成的表象，在 其作品中不可或缺。此表現方式古奧冷僻；其廣 泛概括性透過一絲不苟和獨一無二的風格而得以 實現。」草間初回日本並沒有受到社會的太大關 注，終於在1987年，她在福岡北九州市立美術館 舉辦回顧展，首次在家鄉建立起自己的藝術軌跡 與價值。「無限之網」可以說是草間彌生藝術生 涯的基石，這個持續了超過半個世紀的系列不僅 是藝術家在現實與幻覺往返之間找尋自我療癒的 過程，更奠定了她在當代藝術領域的重要地位。

開始在畫布上面畫點點，接下來就會從桌子延伸 到地板，最後一路畫到自己的身上。我會周而復 始不斷重複同一個動作，讓這面點點之網無限擴 張。不知不覺之間，從手到腳到身上穿的衣服， 房間裡的一切都會被這張網覆蓋。」細短弧線筆 觸所構成的網紋無意識般的在畫布上擴張，每一 筆都有著獨一無二的手感，進而編織成一片充滿

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2013年創作《無限之網》中的草間彌生 Yayoi Kusama painting Infinity Nets in 2013

YAYOI KUSAMA

INFINITY NETS Born in 1929 to a wealthy family in Nagano Prefecture, Yayoi Kusama suffered from neurological audiovisual impairment when she was barely ten years old, which led to frequent visual and auditory hallucinations, creating a different mindset. After she became famous, she often told people, "If it weren't for art, I would have killed myself a long time ago". With the encouragement and help Georgia O'Keeffe, Yayoi Kusama made up her mind to leave Japan and moved to the United States alone in 1957 as her last desperate efforts to escape her extremely unhappy family and fears of her childhood. Living alone in America was not easy, as she once said: "I spent almost all the money I earned on materials and canvas and started painting again. I set up a huge black canvas in my spacious studio, so big that I couldn't reach the edge without stepping on a ladder, and then I painted millions of dots on it with as many tiny brush strokes as I could, weaving a web of white without leaving any gaps". In 1959, Yayoi Kusama's first solo exhibition in New York featured this series of 'nets', which attracted widespread attention in the New York art world at the time and was covered by many mainstream media.

The 1960s were the beginning of Yayoi Kusama's colourful Infinity Nets, which became increasingly varied in colours, creating a more exciting visual experience through the application of a variety of contrasting colours. Infinity Nets (BSGK) (Lot 9) created in 2015 has a bright yellow underlay of orange-red netting and is a dazzling display of two bright yet similar colours. The work brings a strong visual impact from the orderly repetition of the structure.

Kusama tries to control her mental struggle through this paranoid repetition of brushstrokes, trying to obliterate her fears: "To be honest, I'm often annoyed by my mental state. As soon as I started drawing dots on the canvas, I would move from the table to the floor and then all the way down to my body. I would repeat the same action over and over again, spreading the web of dots endlessly.

Before I knew it, everything in the room, from my hands to my feet to the clothes I was wearing, would be covered by this net". The nets consist of short-curved strokes that expand unconsciously across the canvas. Each brushstroke has a unique touch, and weaves itself into a passionate nebula, through which Yayoi Kusama is able to achieve 'self-obliteration' into the infinite, realizing the inner peace of mind.

In 1973, Yayoi Kusama returned to Tokyo from the United States. After years of living abroad and inspired once again by her homeland and her old friends, she decided to stay.

Although she had already accumulated a considerable amount of fame and attention in the United States. Even Donald Judd, the iconic American minimalist artist, spoke highly of Kusama's Infinity Nets series in 1959, saying "[they] are advanced in all respects; the great frontality, the relative lack of tone, the dual economy and complexity of the structure, the importance of the single stroke, whose multiplicity is so essential here, and the color and detail as surface itself. The expression is cool and tough; its vast generality is achieved through a precision and an individuality of statement." Kusama did not receive much attention from the public when she just returned to Japan, and it was finally in 1987 that she first established her artistic trajectory and values in her home country with a retrospective exhibition at the Kitakyushu City Museum of Art in Fukuoka. This series, which lasted for more than half a century, was not only considered as the foundation of her artistic journey and a process of healing for the artist as she moved between reality and illusion, but also established her as a major figure in the field of contemporary art.

古斯塔夫．克林姆《花草農園》1907年作 蘇富比 倫敦 2017年3 月1日 成交價：47,971,250英鎊 Gustav Klimt, Bauerngarten , 1907, Sotheby's London, 1 March 2017, Sold for GBP 47,971,250

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PROPERTY FROM AN IMPORTANT ASIAN PRIVATE COLLECTION

亞洲重要私人收藏

〇

9 YAYOI KUSAMA 草間彌生 JAPANESE, B. 1929

Infinity Nets (BSGK)

無限之網（BSGK）

Painted in 2015 acrylic on canvas 162 x 162 cm. (65 x 65 in.) titled, signed and dated 'INFINITY-NETS (BSGK) YAYOI KUSAMA 2015' (on the reverse)

2015 年作 壓克力 畫布 款識：INFINITY-NETS (BSGK) YAYOI KUSAMA 2015 （畫背）

PROVENANCE

OTA Fine Arts, Tokyo, Japan Private Collection Phillips London, 8 March 2017, Lot 2 Acquired from the above sale by the present owner This work is accompanied by a registration card issued by the Yayoi Kusama Studio.

HK$ 16,500,000 - 25,000,000 US$ 2,115,400 - 3,205,100 56

POLY AUCTION HONG KONG

來源

日本 東京 大田秀則畫廊 私人收藏 富藝斯 倫敦 2017年3月8日 編號 2 現藏者購自上述拍賣 附草間彌生工作室之登記卡

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理查德·普林斯

高光時刻 理查德·普林斯高光時刻 理查德·普林斯傳奇的創作生涯不斷從美國流行 文化擷取素材，無論是繪畫、攝影、雕塑、裝置 等各種媒材，都引發許多的關注與話題。《華爾 街日報》評論「沒有人能做得像理查德那樣。他 改變了20世紀的藝術創作方式」。2018年他於高 古軒的「高峰期」被《紐約時報》評價，為其有 史以來最好的展覽之一。「其中幾件是他生涯中 最有趣的創作，異常豐富和自我揭示」。他回溯 自己80年代的塗鴉作品，放大並同時運用多樣媒 材像是炭筆、油畫、噴墨、拼貼，創造具有手感 與活力的一系列作品，創作於2017年《節奏、嬉 皮、龐克、嘻哈、傳思》(Lot 10) 的六聯作為當期 展覽中最壯觀的作品。在普林斯於七十之際，他 將過去被自己他擱置於一旁的塗鴉，運用新的技 法與科技重製，象徵他勇敢審視過去，重新整理 自己的高光時刻。

嬉皮塗鴉 「嬉皮塗鴉」系列起源於1998年他欣賞四歲女兒 平面、高彩度的繪畫塗鴉，「我開始嘗試模仿或 是被我的小孩引導。我是會畫畫，但我是被他們 創作的方式吸引。」因為塗鴉中樸實與世無爭的 氛圍，正是嬉皮人士所嚮往的寧靜，因此將紙本

節奏、嬉皮、龐克 嘻哈、傳思

素色塗鴉命名為「嬉皮塗鴉」。而這個系列持續 幾年，直到2000年原本計畫於倫敦舉辦展覽，但 因為某些原因展覽取消改為畫冊出版。

《High Times》雜誌封面 2004年普林斯收到一本來自洛杉磯當代美術館策 劃的威廉·德庫寧展覽畫冊，他將圖錄中人物添 加新的頭像、手臂、腳，「嬉皮化」德庫寧的女 性人物，將她們改造為雙重性別的形象。「嬉皮

RICHARD PRINCE 化德庫寧」引起美國前衛先鋒雜誌《High Times》

「我逐漸開始喜歡創作屬於自己的東西，[…]但

的興趣，雜誌邀請普林斯以此風格為其週年創作

就好像以前繪畫的狀態，我仍然對於完全來自於

不同封面，以紀念25週年慶典。普林斯筆下黑白

我自己的創作，感到不安，這就是我的包袱。」

單色「嬉皮塗鴉」從此開始有了迷幻色彩。

畫面的風格此時也從迷幻嬉皮逐步轉向搖滾龐 克，過去畫面中蓄長髮的人物，逐漸被龐克刺蝟

現實｜虛構之間的異次元

頭佔據。有別於其他作品中人物雙手垂墜的自在

2017年普林斯將「嬉皮化的德庫寧」放大排列

隨意姿態，《節奏、嬉皮、龐克、嘻哈、傳思》

於黑色畫布構成「高峰期」系列，糖果般誘人鮮

的中心點，是一眼可見高舉搖滾雙手的主角。那

明的色彩，迅速勾勒輪廓，強烈的對比色為卡通

些原本迷你的單色塗鴉紙本，雙手像是身穿長衣

般人物上色。誇張扭動的軀體，舞動四肢，發散

袖的異形，被拉長數倍，橫跨於不同塊畫布，懸

迷幻狂野氣息，讓人感受非比尋常的精神快感。

空使勁揮舞，他們組成彷彿是正在舉行大型搖滾

「理查德·普林斯從來沒有創作過這麼有趣的作

音樂會中瘋狂舞動的群眾。藝評家李查．赫爾：

品」。畫面中穿插的紙本素描，不連續的畫面， 產生華麗與樸實、彩色與黑白對比，兩者的過渡 讓人物遊走於現實與虛構之間。「高峰期」系列 是普林斯挖掘了自己的歷史，將過去曾經被他束 之高閣的議題，重新以更高規格的姿態，展現於 大眾眼下，作品不單是藝術家自我內在精神對 話，他更創造一個具有幻覺空間，提供觀者進入

1. 理查德．普林斯《High Times》雜誌 2016年9月封面 High Times Magazine Cover September 2016 issue by Richard Prince

一個異次元的空間，享受前所未有的感官刺激。

2. 威廉．德庫寧《女人II》1952年作 美國 紐約 現代藝術博物館藏 Willem de Kooning, Woman II , 1952, Collection of The Museum of Modern Art, New York, USA

1.

2.

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「這些作品保留早期塗鴉的概念基礎，添加原始 嬉皮、嬉皮龐克等次文化，而這個展覽應該命名 為『節奏、嬉皮、龐克、嘻哈、傳思』」。《節 奏、嬉皮、龐克、嘻哈、傳思》畫面在塗鴉人物 基礎之上，普林斯添加狂歡、縱樂等青年次文化 的派對情節，不單表述他長期關注的流行文化， 也捕捉1960年代「嬉皮」走入1970年代「龐克」 的歷史時刻，他成功的將迷幻的能量轉化到了自 己的藝術創作，在表述次文化歷史片段同時，也 暗喻派對迷幻文化對社會的影響。 理查德·普林斯創作核心始終從幽默帶有揶揄的 視角出發，通過他敏銳、富有表現力的手法展示 美國文化的演繹。他的創作歷程是對美國文化的 批判，從80年代翻拍牛仔的系列、2000年初期 流行小說封面的「護士」系列、2014年「社交媒 體截圖」系列、直到2017年的「高峰期」系列， 他都直白的向社會現象提出質疑。瑪利亞·莫里 斯·漢姆博格，她曾說道：「對於今天的一切， 他絕對是個重要人物。他以一種非常早熟的方 式，領先於其他人領會到媒體如何普遍滲入影響 我們的生活，它不只是我們生活的一個方面，而 是我們生活的主導方面。」無論是商業廣告、流 行文學、社交媒體平台這些媒體，或者是「高峰 期」中形塑派對文化，理查德·普林斯可以說是 一個對當代文化真實紀錄者，命名「高峰期」的 展覽除了象徵是藝術家在生涯晚期對自我的回溯 的一個高峰時刻，也表明他一生都抱持極度熱情 挖掘與批判真相的精神創作。

尚．米榭．巴斯奇亞《冰的融點》1984年作 美國 洛杉磯 布羅德 博物館藏 Jean-Michel Basquiat, Melting Point of Ice , 1984, Collection of The Broad, Los Angeles, USA

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我逐漸開始喜歡創作屬於自己的東西， […] 但就好像以前繪畫的狀態，我仍然

對於完全來自於我自己的創作，感到不 安，這就是我的包袱。

──理查德·普林斯

RICHARD PRINCE

HIGH TIMES HIGHLIGHTS OF RICHARD PRINCE’S CAREER Richard Prince's legendary career has drawn much insprations from American popular culture, whether in painting, photography, sculpture, installation or any other medium and attracted much attention and conversation.

The Wall Street Journal commented, "No one does it like Richard. He changed art practice in the 20th century." His 2018 'High Times' at the Gagosian Gallery was described by the New York Times as one of his best exhibitions ever, "several of the most interesting works of his career, exceptionally rich and self-revealing". He recalls his own graffiti works from the 1980s, enlarging them and using a variety of media such as charcoal, oil, inkjet and collage to create a series of works with a sense of touch and energy, among them, the Beat, Hippie, Punk, Hop, Trance (Lot 10).

Created in 2017 was thought to be the most spectacular.

As Prince approaches his seventieth year, he takes the graffiti that has been set aside in the past and recreates it with new techniques and technology, symbolising his courageous examination of the past and the reorganisation of his own highlight moments.

HIPPIE GRAFFITI The Hippie Graffiti series was inspired in 1998 when he admired his four-year-old daughter's flat, high-colour paintings and graffiti, "I was trying to imitate or channel what my kids were doing, because, you know, I can draw.

But what I was interested in was the way they were drawing" he says. The simple, uncontested atmosphere of the graffiti is the kind of tranquillity that hippies aspire to, hence he named it the Hippie Graffiti. The series continued for several years until an exhibition was planned for London in 2000, but for some reason it was cancelled and published as a book.

AS COVER OF THE HIGH TIMES MAGAZINE

BEAT HIPPIE PUNK HOP TRANCE

In 2004, Prince received a copy of an exhibition of paintings by Willam de Kooning curated by the Museum of Contemporary Art, Los Angeles, in which he added new heads, arms and feet to the figures in the catalogue to 'hippified' de Kooning's female figures, transforming them into a dual gender. "Hippie de Kooning" attracted the interest of the avant-garde American magazine High Times, which invited Prince to create a unique cover in this style for its anniversary to mark the 25th anniversary. Prince's

black and white monochrome 'hippie graffiti' has since taken on a psychedelic colours.

THE OTHERWORLDLY BETWEEN REALISM｜ IMAGINARY In 2017 Prince enlarged and arranged the "Hippie de Kooning" on black canvas to form the High Times series, with candy-like bright colours that quickly outline the silhouette and strong contrasting colours that colour the cartoonish figures. The exaggeratedly twisting bodies and dancing limbs exude an air of psychedelic wildness and an extraordinary sense of mental exhilaration. "Mr. Prince has never made anything quite so much fun to look at as the new Princes". Interspersed with paper sketches, the discontinuity of the images creates a transition between the ornate and the rustic, colour and black and white. The transition between the two allows the characters to move between reality and imaginary. "The High Times series is a way for Prince to dig into his own history, to reintroduce a subject that was once relegated to a higher standard to the public eye". The work is not only a dialogue between the artist and his inner spirit, but also an illusionary space that offers the viewer an unprecedented sensory stimulation.

"I started to kind of like do my own drawings,[…]

But it was's as if I was drawing them. I was still very uncomfortable with the idea of doing things that solely came from me I've always been uncomfortable about that, and that was my bag."

At the bottom of the large picture titled Beat, Hippie, Punk, Hop, Trance, are inkjet-printed, enlarged graffiti figures in the shape of 'hippie graffiti' aliens, some of which stand large on the black, depthless surface, while between the figures, several smaller creatures are inserted, making for an extraordinarily cheerful composition. The enlarged digital grids, using the lines of the oil stick and the vivid colours of the acrylics in a confident manner to shape the main body of the painting. They are also partially interlaced with the paper collage, layers and layers of rich texture to reveal the artist's mastery of different mediums.

The style of the painting gradually shifts from psychedelic hippie to rock and roll punk, with the long-haired figures of the past becoming dominated by punk hedgehogs.

In contrast to other works where the figures have their hands dangling in a casual manner, the centrepiece of Beat, Hippie, Punk, Hop, Trance is the protagonist with his rocking hands raised in the air. The hands, originally miniature monochrome graffiti sheets, are stretched several times across the canvas like alien figures in long

美國 紐約 高古軒畫廊 理查德．普林斯「高峰期」展覽現場 Exhibition view of "High Times" at Gagosian Gallery, New York, USA

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sleeves, waving vigorously in the air as they form a mass of people dancing wildly in the midst of a huge rock concert.

Art critic Richard Hill comments "These pictures are the remaining vestiges of an earlier concept of the show that would have added a few further subcultures to the original hippies and hippie-punks, and the exhibit would have been subtitled Beat, Hippie, Punk, Hop, Trance. In this piece of work, Prince adds a party feeling to the youth subculture of carnival and indulgence in addition to the graffiti figures, not only expressing his long-standing concern with popular culture, but also captures the historical moment when the 1960s 'hippie' shifting into the 1970s 'punk', where he successfully translates the psychedelic energy into his own artistic creation, expressing a sub-cultural history while also alluding to the impact of the party on society.

At the heart of Richard Prince's work is always a humorous and derisive look at the interpretation of American culture through his perceptive and expressive approach. His creative journey always critiqued American culture, from his series of remakes of cowboys in the 1980s, the Nurse series of popular fiction covers in the early 2000s, the 2014 social media screenshot series, to his 2017 series High Times series, where he bluntly questioned social phenomena.

Maria Morris Hambourg from New York Metropolitan Museum of Art, asserted, "He is absolutely essential to what's going on today, he figured out before anyone elseand in a very precocious manner-how thoroughly pervasive the media is. It's not just an aspect of our lives, but the dominant aspect of our lives." Whether it is the media of commercial advertising, pop literature, social media platforms, or the shaping of party culture in the exhibition titled High Times, Richard Prince can be described as a chronicler of the reality of contemporary culture, and the exhibition titled High Times not only symbolises a peak moment in the artist's late-career recollection of himself, but also demonstrates his lifelong passion for uncovering and critiquing the truth.

I started to kind of like do my own drawings, […] But it was’s as if I was drawing them. I was still very uncomfortable with the idea of doing things that solely came from me I’ve always been uncomfortable about that, and that was my bag.

- Richard Prince

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PROPERTY FROM A DISTINGUISHED ASIAN PRIVATE COLLECTION

亞洲頂尖私人收藏

〇

10 RICHARD PRINCE 理查德·普林斯 AMERICAN, B. 1949

HK$ 16,000,000 - 26,000,000 US$ 2,045,100 - 3,323,300

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Beat Hippie Punk Hop Trance

節奏，嬉皮，龐克，嘻哈，傳思

Executed in 2017 oil stick, acrylic, charcoal, collage and ink injector on canvas (hexaptych) each: 203 x 149.8 cm. (80 x 59 in.) overall: 203 x 898.8 cm. (80 x 354 in.) signed in artist's signature; dated and titled '2017 "BEAT Hippie punk Hop TRANCE' (on the reverse)

2017 年作 油畫棒 壓克力 炭筆 拼貼 印刷畫布（六聯作） 款識：藝術家簽名；2017 "BEAT Hippie punk Hop TRANCE（畫背）

PROVENANCE

Gagosian Gallery, Hong Kong, China Acquired from the above by the present owner EXHIBITED

USA, New York, Gagosian Gallery, High Times, 1 November-19 December, 2018.

LITERATURE

Richard Prince: High Times, Gagosian, London, UK, 2018 (illustrated, pp. 127-130).

來源

中國 香港 高古軒畫廊 現藏者購自上述來源 展覽

2018年11月1日-12月19日「高峰期」高古軒畫廊 紐約 美國 出版

《理查德．普林斯：高光時刻》高古軒 倫敦 英國 2018 年（圖版，第127-130頁）

WAYNE THIEBAUD 偉恩·第伯

壓卷之作 1960年代偉恩．第伯著迷於儀式感排列的蛋 糕、三明治、糖果，被稱為「加州美食藝術家」 他筆下的日常食物、消費商品貫穿其創作生涯。 1970年代開始戶外風景畫，使他作品加入充滿 活力的顏色與細膩的繪畫技巧。到了90年代末期 俯瞰河川景觀的創作經驗，讓他熟悉不同視角的 切換與田野阡陌縱橫的塊狀構圖。創造於20102011年的《禮物蛋糕》(Lot 11) 集合每一個創作 歷程的轉折與突破，在1960年代蛋糕幾何物件 排列的外型基礎，施以1970年代令人眼花撩亂 的繽紛色彩，最後是90年代多重視角，與縱橫 交錯的畫面切割畫龍點睛，將原本日常平凡的甜 點，幻化為成對形狀、色彩、光線與視角探索， 視為藝術家對於自我創作歷程的完美總結與回 顧，堪稱生涯的「壓卷之作」。

甜食的愉悅精神性 得益於威廉．德庫寧的建議，「創作你了解並且 喜歡的事物，而非你以為的藝術」。因此第伯回 歸探索三角形、圓形、方形的基本特性，將幾何 形狀組合日常生活中蛋糕、餡餅，開啟美食之 路。與這些成堆排列的食物，像徵美國富饒的環 境，也當時中產階級的消費文化密不可分。第伯 曾說：「我是個被寵壞的孩子，擁有美好的生 活，所以我只畫快樂的形象」。藝術家利用點

禮物蛋糕

心、甜食所營造成愉悅的精神性，渲染觀者，帶 領一同進入他所創建的富裕安樂情境之中。 1970年代定居於舊金山後，第伯開始城市風景系 列的作品，運用鮮豔的顏色，呈現舊金山階梯式

WAYNE THIEBAUD 城市景觀，戶外的自然採光，讓他看到光線照射 下產生的如菱鏡般彩虹光，此階段開始他的創作 在色彩學上有重要的突破。《禮物蛋糕》輪廓是 幼細的對比色勾勒而成的造型，被切開的黃色夾 心蛋糕上緣是橘紅的交界線，而橘紅帶有花朵裝 飾蛋糕邊緣線則是寶藍色，第伯運用對比色衝撞 營造出一種具有能量的表現力，使靜止的物體表 面產生真實的震動，像是一道光暈閃爍的效果， 如同他自己所說「光是通過創造能量的方式產 生，通過顏色的並置和這些顏色的相互作用來產 生」。第伯筆下的蛋糕就像神聖的標誌，帶著自 我發光體，發散出一道道奪目且永恆的光芒。

雙重視角與畫面切割 從未停止自我挑戰的第伯，於1990年末其七十 歲之際，轉向研究河川景觀，以三角洲蜿蜒的水 道和耕地為基礎。他通過在田野和堤壩上走動， 製作研究草圖，之後回到工作室根據記憶重新配 置，變動的視角，打破傳統單一的透視，進入下 一階段的革新。《禮物蛋糕》為了展現臨場感， 灰色的蛋糕櫃主體是平行的視角，然後為了生動 1.

1. 偉恩．第伯 《下十八街》1980年作 美國 華盛頓 赫須巨集博物館藏 Wayne Thiebaud, Down Eighteenth Street , 1980, Collection of Hirshhorn Museum and Sculpture Garden, Washington, D.C., USA 2. 偉恩．第伯《平原河流》（局部）1997年作 美國 舊金山 舊金山現代藝術 博物館藏 Wayne Thiebaud, Flatland River (detail), 1997, Collection of San Francisco Museum of Morden Art, San Francisco, USA 2.

偉恩·第伯

「我總是盡可能嘗試使用各種顏色在畫面不同區 域，使它像是光暈閃亮的光芒或是彩虹的效果。」

你手拿一個檸檬蛋白派，是很美好的事 情。…它不僅僅是一個物件，也是與繪 畫本身的關係。 就像是你在製作蛋白糖 霜…和做一個派。

——偉恩·第伯

呈現櫃中兩排蛋糕的樣貌，第伯將視覺切換成往 下的角度，使用不受空間時間侷限雙點透視法， 建立深度的錯覺效果。河川系列綿延的河流與田 間小徑相互交錯，將畫面分割成不同的色塊，同 時也反映在《禮物蛋糕》，點心櫃的垂直線條與 平行地平線將畫面切割為塊狀面積，本該是相同 色彩的玻璃櫃側邊與後方，第伯用色彩區分不同 平面。《禮物蛋糕》在多元視角下創建更具深度 空間感，與色塊構圖豐富畫面的層次。

致敬大師 「藝術史對畫家至關重要，不僅產生提供靈感， 同時也是一個指引視覺圖書館。」 未受過正規美術訓練的第伯，透過畢生藝術教學 實踐不斷地挖掘美術史大師與其對話。其中喬

1.

治·莫蘭迪是他身感敬佩的偶像，「無論何時在 世界各地藝術界提到喬治·莫蘭迪，大家都深感 欽佩與讚嘆。」他透過觀察莫蘭迪在組合瓶瓶罐 罐的過程，找到充滿活力的幾何圖形，這些置放 在畫布中的形狀，看似平凡無奇秩序，卻是暗藏 嚴格精準的細節。如第伯所言「測試任何不同的 擺設可能，是認真的藝術家基本的要求。」《禮 物蛋糕》的構圖絕非偶然，勢必是藝術家對物體 排列嘗試所有可能後，自己滿意的成果。有別於 廣告看板井然有序的排列，櫃子右上角落缺少的 蛋糕像是日常真實生活的情景，像是剛有人買走 蛋糕的瞬間。為了使畫面不因為這區域的留白而 失去重心，他在櫃子上方安插高腳玻璃罩的咖啡 色蛋糕平衡空間。通過蛋糕間的間距與熟練空間 安排，畫面暗藏幾何構成嚴謹的古典規律，揭示

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第伯所嚮往的秩序，和對理性古典柏拉圖式美學 的嚮往。 除了在選材為第伯點了一盞明燈，威廉．德庫寧 在畫布上自由地扭動，奔放的流線筆法，也讓第

1. 喬治．莫蘭迪《靜物》1946年作 英國 倫敦 泰特現代藝術館藏 Giorgio Morandi, Still Life , 1946, Collection of Tate Modern, London, UK 2. 威廉．德庫寧《誰的名字寫在水裏》1975年作 Willem de Kooning, Whose Name Was Writ in Water , 1975

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伯佩服，深深影響他創作的筆觸。旋轉筆刷創造 蛋糕上奶油和糖霜的流動柔滑，像是液態的質 地，第伯用厚塗的油彩，刻意增稠顏料的製造誇 張的浮雕肌理，模擬真實奶油的質地，「油畫看 起來像蛋白糖霜」，展現生動活潑質感。

2010 年繼往開來之際 2010對偉恩·第伯是巨變的一年，長期兼任其經 紀人的兒子保羅因癌症中壯年離世，不僅忍受白 髮人送黑髮人之悲痛，家庭與工作節奏皆天翻地 覆。旋即，數個月後迎來首次在其家鄉克洛克美 術館的重要回顧展，「能在自己的家鄉做展覽， 是再美好不過的事」。他自己精心挑選不同階段

大多數物品都是實際生活中的片段。比 如說，我會真的想起麵包房的櫃檯，那 裡點燈的方式，餡餅擺放的位置，但我 只要當中一個片段。當我在餐廳工作時，

我記得看到過一排排餡餅，或是一罐餡 餅， 其中一塊掉了出來，另外一塊則放

在一旁。這些斷斷續續的片段場景對我 來說總是充滿詩意。

的代表作陳列，橫跨50年代至最新作品。方經

──偉恩·第伯

歷生離死別對生活重新省視，百感交集之際，面

對這個重要展覽，提供他自我梳理藝術生涯之契 機，《禮物蛋糕》即是在此時期完成。一生創作 無數甜點作品的第伯，僅在60年代、90年代、 2010年創作為數不多蛋糕櫃，而且只有《禮物蛋 糕》是垂直構圖。查閱目前公開拍賣紀錄，也僅 有兩件櫥窗式甜點櫃拍賣過，其中一件為本次上 拍品，也是拍賣當年藝術家紀錄。而另一件則是 創作於1962年的《點心櫃檯》，如果對比兩件作 品無論是色彩的豐富度、筆觸的細膩和質地的表 現都清晰可見其突破，《禮物蛋糕》可以說是在 《點心櫃檯》構圖基礎，再將其一生繪畫成果與 風格演變集大成之作。 偉恩．第伯《點心櫃檯》1962年作 Wayne Thiebaud, Bakery Counter , 1962

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ENCASED CAKES

I always try to get some of each colour in as many different area of the picture as I can, so there is a kind of aura, almost like sunshine or the rainbow effect.

- Wayne Thiebaud

Wayne Thiebaud was obsessed with ritualistic arrangements of cakes, sandwiches and sweets in the 1960s. He was known as "the hungriest artist in California." His work frequently depicts commonly seen food and consumer goods. He began painting outdoor landscapes in the 1970s, adding vibrant colours and delicate painting techniques to his work. The creative experience of him studying and overlooking river landscapes in the 1990s allowed him to familiarize with switching different perspectives, and the block-like composition of vertical and horizontal views. Created from 2010-2011, Encased Cakes (Lot 11) brings together the twists and turns of each creative process, on the basis of geometric arrangement of cakes in the 1960s, the dazzling colours of the 1970s, and finally the multiperspectives of the 1990s, interlocking cuts of the picture have been applied. It is a perfect summarization and retrospective of the artist's creative journey and can be considered as a "masterpiece" of his career.

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THE DELIGHTFUL SPIRITUALITY OF SWEETS It is thanks to Willem de Kooning's advice to "do something you know something about, that you are particularly fond of. Don't try to make painting that look like art". Thiebaud therefore returns to explore the basic characteristics of triangles, circles, and squares, combining these geometric shapes with cakes and pies commonly seen in daily life, thus opening doors to the artist's culinary journey in art. These piles of food symbolize the richness of the American culture and the middle-class consumer culture at the time. Thiebaud once said, "I was a spoiled child. I had a great life, so the only thing I can do is to paint happy pictures." The artist leverages the spirituality of pleasure created by refreshments and sweets to render the audiences and lead them into the affluent and happy environment he created.

COLOURS AND LIGHTS In the 1970s, Thiebaud settled in San Francisco and began his series of urban landscapes, using bright colours to represent the cascade cityscape of his new home.

The natural outdoor lighting and hilly scenery of the city allowed him to see the iridescent light, much like a diamond reflecting. At this stage, he began to make important breakthroughs on depicting colour scenes. We can clearly see the artist's use of contrasting colours to create shape and dimension. For example, the cake with a sliced piece uses orange lines and the cake with the flower decoration uses blue lines to respectively create a contrast.

The application of contrasting colours clashes to create an energetic expression to create momentum to a stationary object, much like the surface of the cake is emanating itself.

As the artist says, "the light is created by creating energy, by the juxtaposition of colours and the interaction of those colours to create light". The cakes Thiebaud creates are like sacred symbols, with self-luminous bodies, emitting dazzling and eternal light.

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DUAL PERSPECTIVES AND PAINTING SPACE CUTTING Thiebaud never stopped challenging himself. In late 1990, at the age of seventy, he turned to the Sacramento River landscape for inspiration, taking the meandering waterways and cultivated lands of the delta as the objects.

By wondering on the fields and dams, he then sketched and returned to the studio to reconfigure them from memory. This allowed him to move to the next level of innovation with changing perspectives, breaking away from the traditional monolithic perspective. In order to present a sense of presence, the main body of the present work uses the gray cake cupboard in parallel perspective.

Then, in order to vividly present the appearance of the two rows of cakes within the counter, Thiebaud paints the cake at an angle such that the viewer is peering down at the showcase. This method allows the composition to have an illusion of depth. The intersection of the rolling rivers and paths in the river series, dividing the picture into different colour blocks is also reflected in Encased Cakes. The vertical and horizontal lines of the bakery counter cut the picture into different blocks. The side and back glasses of the counter are divided in different planes and different colours to further reinforce the notion of using colour blocks by the

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1. 1962年偉恩．第伯在紐約個展上的照片 A photo of Wayne Thiebaud in 1962 at his New York Solo Exhibition 2. 偉恩．第伯《餡餅，餡餅，餡餅》1961年作 美國 薩克拉門托 克洛克美術館藏 Wayne Thiebaud, Pies, Pies, Pies , 1961, Collection of Crocker Art Museum, Sacramento, USA 3. 偉恩．第伯《紐約客》封面 2020年8月17日 The New Yorker Cover by Wayne Thiebaud, 17 August 2020 3.

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order that Thiebaud aspires to and the desire for a rational classical-Platonic aesthetic.

"You take a lemon meringue pie. It's quite a beautiful thing. . . . It's more than just a subject, it's also a kind of relationship to the paint itself. You really feel like you're sort of making the meringue and . . . working with the pie."

-Wayne Thiebaud

1.

artist. Encased Cakes creates a sense of depth and space with multiple perspectives, and the composition of colour blocks enriches the layers of the picture.

SALUTE TO MASTERS "That's why art history is so crucially important to painter.

It's not just our inspiration but our guidepost and our visual library."

-Wayne Thiebaud With no formal art training, Thiebaud has spent his whole life teaching art, continuously digging art history masters and talk with them. Among them is Giorgio Morandi, whom he admires personally and profoundly: "Whenever Giorgio Morandi's name is mentioned in the community of painters throughout the world, deep admiration and stunning tributes are expressed." By observing Morandi's process of assembling bottles and jars, he finds vibrant geometric shapes that are placed on canvas in a seemingly mundane order, but which conceal a strict precision of detail. As Thiebaud says, "This testing out different set ups is one of very basic needs of any serious artist." Encased Cakes is by no means accidental but must be the result of the artist's own satisfaction after trying out all the possibilities for the arrangement of objects. Unlike the wellregulated pie order of the advertising board, the missing cake in the upper right corner of the counter indicates a real-life scene, as if someone had just bought the cake. To prevent the whole picture from losing balance because of the white space in this area, he placed a coffee-coloured cake with tall glass covers above the counter to create balance. Through the spacing between the cakes and the skillful spatial arrangement, the work conceals the strict classical rules of geometric composition, revealing the

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In addition to the inspiration on the choice of materials, Willem de Kooning's free-flowing brushwork with twists and turns also impressed Thiebaud and deeply influenced his brushwork. The rotating brushes create a smooth flow of cream and frosting on the cake, like a liquid texture. With thickly applied oil paint, Thiebaud deliberately thickens the paint to create exaggerated relief texture, simulating the texture of real cream. He skillfully makes "the oil paint look like meringue", and successfully presents a sense of vividness and texture.

2010: A TIME TO MOVE ON The year 2010 was a year of great change for Wayne Thiebaud. His son Paul, who was also his manager passed away due to cancer. This untimely farewell not only buried him with great pain but impacted him to reconsider his personal and professional life. Immediately a few months after the event, he was set to present his first major retrospective at the Crocker Art Museum in his

2.

Most of the objects are fragments of actual experience. For instance, I would really think of the bakery counter, of the way the counter was lit, where the pies were placed, but I wanted just a piece of the experience. From when I worked in restaurants, I can remember seeing rows of pies, or a tin of pie with one piece out of it and one pie sitting beside it. Those little intermittent fragmented circumstances were always poetic to me.

- Wayne Thiebaud

hometown. The artist stressed that "It's wonderful to do things in your own hometown". He himself has carefully selected masterpieces from different stages of his career, spanning from the 1950s to his most recent works. After the loss of his son, he started to reevaluate his life, facing this important exhibition provided him to sort out where he stood in terms of his artistic career, and Encased Cakes was created during this special period. After a lifetime of creating numerous paintings featuring desserts, Thiebaud created only a few cake counters in the 1960s, 1990s, and 2010. Amongst these paintings, Encased Cakes is the only painting with vertical composition. Only two pieces featuring window bakery counters have ever been sold in public auctions, one of which is the present lot on auction this time, which was also the artist's record sold price for that year. The other one is the Bakery Counter created in 1962. By comparing the two works, the viewer can clearly see the progress and breakthrough of the artist in terms of the richness of colour, the delicacy of brushwork, and the expression of texture. Encased Cakes can be said to be a masterpiece that builds on the composition of the Bakery Counter, which brings together his lifelong achievements and stylistic volution.

1. 威廉．德庫寧《哥譚新聞》1955年作 美國 紐約 Albright-Knox 美術館藏 Willem de Kooning, Gotham News , 1955, Collection of Albright-Knox Art Gallery, New York, USA 2. 偉恩．第伯《蜿蜒的河流》2002年作 富藝斯 紐約 2021年6月 23日 成交價：9,809,000 美元 Wayne Thiebaud, Winding River , 2002, Phillips New York, 23 June 2021, Sold for USD 9,809,000

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PROPERTY FROM A DISTINGUISHED ASIAN PRIVATE COLLECTION

亞洲頂尖私人收藏

〇

11 WAYNE THIEBAUD 偉恩·第伯 AMERICAN, 1920-2021

Encased Cakes

禮物蛋糕

Painted in 2010-2011 oil on canvas 182.9 x 121.9 cm. (72 x 48 in.) signed and dated 'Thiebaud 2010/2011' (on the reverse)

2010-2011 年作 油彩 畫布 款識：Thiebaud 2010/2011（畫背）

PROVENANCE

Acquired directly from the artist in 2011 Sotheby's New York, 14 November 2019, Lot 30 Acquired from the above sale by the present owner

HK$ 60,000,000 - 86,000,000 US$ 7,669,000 - 10,992,300

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來源

2011年直接得自於藝術家本人 蘇富比 紐約 2019年11月14日 編號30 現藏者購自上述拍賣

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無眼簾

ADRIAN GHENIE 亞德里安．格尼

宏觀視角書寫文明進程 70後出生的青壯輩當代藝術家，來自羅馬尼亞的亞德里安．格尼， 他可說是從學術到收藏市場，得到雙重認可，備受讚譽的新一代藝 壇巨星。 這一幅《無眼簾》(Lot 12) 作品，是格尼的自畫像，也是迄今出現在 收藏市場上，尺幅最大的藝術家自畫像之一，明顯看到格尼承襲自 梵谷的精神。梵谷這位後印象派的宗師啟迪了無數後輩，格尼無疑 是其中的佼佼者。

肖像畫─映射歷史、觀照自身

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約略從2009年開始，格尼開啟了一系列人物肖像的研究，他透過研 究在各個時期，不同領域深具影響力的人物，探究人們內心的集體 記憶，包括藝術家梵谷、杜尚，科學家達爾文，歌星貓王與喜劇雙 人組勞萊與哈台，也包括含列寧、希特勒、史達林等備受爭議的政 治人物，而梵谷，則是其中唯一的畫家，更是影響少年格尼最深刻 的人物。

梵谷啟迪創作巔峰 格尼2014年的作品《1937年的太陽花》，即是向梵谷的《向日 葵》致敬，此作2016年2月上拍倫敦蘇富比，估價40萬英鎊，以迅 猛之姿飆向265萬英鎊落槌，當時創下了藝術家作品拍賣紀錄，格 尼更從此在收藏市場廣為人知。這幅《無眼簾》，格尼即是從2016 年這一年開始創作，他在這一年聲名鵲起，各界讚譽與質疑的目光 2.

1. 文森特．梵谷《自畫像》1889 年作 法國 巴黎 奧塞美術館藏 Vincent van Gogh, Self Portrait , 1889, Collection of Musée d'Orsay, Paris, France 2. 亞德里安．格尼《仿梵谷自畫 像》2012年作 Adrian Ghenie, Self-Portrait as Vincent van Gogh , 2012

格尼會研究名人的生平，再仔細分析當今留存下來的文本與 圖像資料，最後在他自己創作的肖像畫與自畫像，拋卻先前 的所有研究，進行全面的改頭換面和身份轉移。

──詹姆斯·霍爾

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同時投射到這位剛滿四十歲的藝術家，但格尼不

雜誌文章《文森．梵谷的悲劇人生》，封面是梵

為所動，他依舊畫梵谷，畫自己要承載梵谷的精

谷《向日葵》，內頁有著藏於巴黎奧塞美術館的

神。而持續兩年作畫的《無眼簾》作品，即是這

梵谷自畫像（1889年創作）黑白照片…。到了

時期的精采之作。

1998年，格尼第一次踏進奧塞美術館，凝視著這

從肖像到自畫像：歷史與當下

自畫像，轉化為他自身的肖像。

梵谷，他是格尼的心靈導師，格尼研究梵谷，描 繪梵谷，梵谷敏感纖細的情感卻又狂放的筆觸，

幅梵谷自畫像，然後到了2016-2018年，他把這幅

宏觀視角書寫文明進程

深深撼動格尼。來自羅馬尼亞的格尼，並不屬於

在千禧年後的創作時期，格尼不斷的將自己的面

藝術大國，他的創作生涯，經歷過破產、經營不

容，與推進人類或是毀滅人類文明的歷史人物形

善，從無人理會到一舉成名天下知，可以說格尼

象結合交融。歷史學家與藝評人詹姆斯．霍爾曾

的早期創作生涯，與梵谷的人生際遇，有著異曲

經撰文：「格尼會研究名人的生平，再仔細分析

同工之妙，他對於梵谷內心的世界更能感同深

當今留存下來的文本與圖像資料，最後在他自己

受，他透過多幅研究梵谷的繪畫，折射出格尼對

創作的肖像畫與自畫像，拋卻先前的所有研究，

藝術的理解與對當代世界的觀察。

進行全面的改頭換面和身份轉移。」（詹姆斯

與許多長成於物質貧乏童年的藝術家相同，格尼 的成長環境缺乏藝術書籍，但他小時候讀過一篇

1.

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．霍爾「亞德里安．格尼：失控之鏡裡的自畫 像」，《亞德里安．格尼：最新畫作》展覽圖 錄，倫敦 Thaddaeus Ropac 畫廊，2015 年）。

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格尼的《無眼簾》，恰恰正是霍爾的解析。生活 在二戰後百廢待舉的羅馬尼亞，從政治、社會到 民生經濟，不同體制變革下的環境，格尼他回顧 過往尋覓歷史的蛛絲馬跡，透過一幅又一幅的繪 畫，探究人性。

實現遠大企圖的終極自畫像 這幅畫，我們可以看到從梵谷到格尼的形象，面 部容顏透過一層層顏料的堆疊厚塗，以培根式的 漩渦技法，李希特式的刮刀筆觸，獨創出格尼這 件，彷彿以一片片碎片合組而成的臉龐，每一抺 色塊碎片宛如每一段的記憶，集結而成了格尼的 思想。面容雖然無法辨認，但格尼總是梳得有條 不紊的髮型以及下頜蓄鬍，可確認畫中主角就是 格尼。 面部形象模糊的這幅畫，揭示了少年格尼到中年 格尼的創作路。梵谷是格尼的精神導師，培根與 李希特，則無疑影響了格尼的技法，不同時空的 幾位藝術大師，彷彿在格尼的畫布上相互衝擊對 話，格尼從中汲取養分，開創出自身的獨特藝術 語言。這幅以梵谷生涯晚年形象創作的自畫像， 正是格尼與藝術史對話，投射自身到當代世界的 重要關鍵作品。從2016年開始創作，到2018年 收筆的格尼自畫像，無疑是他與梵谷精神契合的 完美收官之作：既是格尼的自畫像，也是梵谷的 肖像。

1. 安迪．沃霍爾《自畫像》1986年作 蘇富比 紐約 2022年5月16 日 成交價：18,708,500 美元 Andy Warhol, Self Portrait , 1986, Sotheby's New York, 16 May 2022, Sold for USD 18,708,500 2. 亞德里安．格尼《1937年的太陽花》2014年作 蘇富比 倫敦 2016年2月10日 成交價：3,117,000英鎊 Adrian Ghenie, The Sunflowers in 1937 , 2014, Sotheby's London, 10 February 2016, Sold for GBP 3,117,000

ADRIAN GHENIE

DEPICTING THE PROGRESS OF CIVILISATION FROM A MACRO PERSPECTIVE

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A young contemporary artist born in the late 1970s, Adrian Ghenie from Romania is a highly acclaimed star of the new generation who received acclamation from the academics to art collectors.

Lidless Eye (Lot 12) is a self-portrait of Ghenie and is one of the largest self-portraits by the artist to appear on the market to date. The work is a clear tribute to and also influenced by Vincent van Gogh, the master of PostImpressionism. Van Gogh inspired many of his successors, and of whom Ghenie was undoubtedly one of the artists who was greatly influenced by van Gogh.

PORTRAITS – REFLECTION OF HISTORY, OBSERVATION OF ONESELF Ghenie started a series of portraits around 2009. He explored the collective memory of people through the study of influential artists from various periods and fields, including artists like van Gogh and Duchamp, the scientist Darwin, the singer Elvis Presley and the comedy duo Laurel and Hardy, as well as controversial political figures such as Lenin, Hitler and Stalin, of whom van Gogh is the only painter and the person that casted great influence on Ghenie.

亞德里安．格尼《老文森》2016年作 Adrian Ghenie, Vincent as Old , 2016

PEAK OF ARTISTIC CREATION INSPIRED BY VAN GOGH The Sunflowers in 1937 created by Ghenie in 2014 is obviously a tribute to van Gogh's Sunflowers. It was on auction at Sotheby's London in February 2016 with an estimated price of GBP 400,000 and went on to hammer at £2.65 million, a record for the artist's work at the time, making Ghenie a well-known name in the collector's market ever since. The artist created the present work in 2016, which was the year he rose to fame. He had just turned forty and was still unmoved with both accolades and doubts directed at him. He still paints van Gogh with the aim to carry on the spirit of him. He continued to work on this work for two years, making Lidless Eye one of the highlights of this period.

FROM PORTRAIT TO SELF-PORTRAIT: THE PAST AND THE PRESENT To Ghenie, van Gogh was a spiritual mentor whom he studied religiously. He was touched by his sensitive and delicate yet wild brushstrokes. Ghenie is from Romania, which is not a country known for art. His creative career has been marked by bankruptcy and poor business practices but with perseverance he managed to gain global fame. His early career echoes that of van Gogh's life, enabling him to relate to the inner world of van Gogh. His understanding of art and observations of the contemporary world are reflected in his many paintings centered on van Gogh.

He researches their lives, studying them meticulously in text and image, then finally, in his own portraits and self-portraits, he jettisons his research, and enacts a brutal kind of makeover and identity theft.

- James Hall

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Like many artists who grew up in a materially deprived childhood, Ghenie grew up with a lack of art books.

However, he read a magazine article as a child titled The Tragic Life of Vincent van Gogh, with van Gogh's The Sunflowers on the cover and a black and white photograph of van Gogh's Self-Portrait (1889) collected by the Musée d'Orsay, Paris on the inside. By the year 1998, Ghenie set foot in the Musée d'Orsay for the first time to gaze at this self-portrait of van Gogh, which he then transformed into his own portrait in 2016-2018.

DEPICTING THE PROGRESS OF CIVILISATION FROM A MACRO PERSPECTIVE In the post-millennium period, Ghenie has continued to combine his own face with images of historical figures that have either advanced or destroyed human civilisation.

The historian and art critic James Hall has written: "He researches their lives, studying them meticulously in text and image, then finally, in his own portraits and selfportraits, he jettisons his research, and enacts a brutal kind of makeover and identity theft' (J. Hall, 'Adrian Ghenie: Self-Portrait in a Convulsive Mirror', in Adrian Ghenie: New Paintings, exh. cat., Galerie Thaddaeus Ropac, London, 2015).

Lidless Eye, a self-portrait by Ghenie proves Hall's interpretation. Living in post-World War II Romania, in which the political, social and economic environments undergone profound changes, Ghenie looks back for signals in the history and explores human nature through painting after painting.

ULTIMATE SELF-PORTRAIT EMBODIES A FARREACHING AMBITION In this painting, we can see the image of Ghenie in van Gogh. The face of the artist is covered in thick layers of paint, with the swirling technique of Bacon and scraper strokes of Richter, creating a Ghenie style. The face seems to be formed from fragments, each dash of colour is like a piece of memory, which is gathered to form the unique philosophy of Ghenie. Although the face is hard to recognize, the way Ghenie's hair is always combed and the way he wears his moustache on his chin are hints for the viewer to identify him as the subject matter.

The blurry face depicted in this painting reveals the path of artistic maturity of the artist. Van Gogh is the spiritual mentor, while Bacon and Richter undoubtedly influenced Ghenie's techniques. It is as if these masters of different times were in dialogue with each other on his canvas.

By learning from them, Ghenie creates his own unique artistic language. The artist's self-portrait, taking van Gogh's self-portrait in the late years as the prototype, is a masterpiece showcasing Ghenie's dialogue with art history and projection of himself into the contemporary world.

Begun in 2016 and completed in 2018, this self-portrait is undoubtedly the perfect expression to his spiritual accord with van Gogh: a self-portrait of Ghenie and a portrait of van Gogh.

88

POLY AUCTION HONG KONG

LIDLESS EYE

PROPERTY FROM A DISTINGUISHED ASIAN PRIVATE COLLECTION

亞洲頂尖私人收藏

〇

12 ADRIAN GHENIE 亞德里安·格尼 ROMANIAN, B. 1977

Lidless Eye

無眼簾

Painted in 2016-2018 oil on canvas 180.4 x 149.8 cm. (71 x 59 in.) signed and dated 'Ghenie 2016-2018' (on the reverse)

2016-2018 年作 油彩 畫布 款識：Ghenie 2016-2018（畫背）

PROVENANCE

Acquired directly from the artist Private Collection Private Collection, International Collector Sotheby's Hong Kong, 6 October 2020, Lot 1123 Acquired from the above sale by the present owner LITERATURE

Adrian Ghenie-Paintings 2014-2019, Hatje Cantz, Berlin, Germany, 2019 (illustrated, p. 183).

HK$ 50,000,000 - 75,000,000 US$ 6,390,900 - 9,586,300

90

POLY AUCTION HONG KONG

來源

直接得自於藝術家 私人收藏 國際私人收藏 蘇富比 香港 2020年10月6日 編號1123 現藏者購自上述拍賣 出版

《亞德里安．格尼─畫作 2014年─2019年》Hatje Cantz 柏林 德國 2019年（圖版，第183頁）

MODERN AND CONTEMPORARY ART

91

曾梵志的繪畫核心在於筆觸運動， 它既否定了敘事性，又否定了繪畫 語言，但在繪畫的節奏上有著自己 的邏輯性。

──黃篤

ZENG FANZHI 曾梵志

自畫像

的韻律性、奔放的自動性筆觸和獨特的構圖讓他 建立起新的體系。藝評家呂澎說過：「他［曾梵 志］決定放棄從他熟悉的西方藝術中尋求轉型的 可能性，他似乎想從中國傳統山水畫中去尋找一 個新的、與自己吻合的氣質。他在畫布上進行理 性的實驗，他通過手夾兩枝畫筆的方法，在畫布 上塗抹自由的線條，這顯然回到了早年的偶然 性。可是，正是線條的無序纏繞，使畫家徹底地 擺脫了西方化的表現主義的殘酷與粗野，而接受 了他身處的文明賦予的溫情與內向。」《我們系 列．自畫像》(Lot 13) 泛紅的肌膚延續了藝術家一 向的創作核心，極度放大的構圖強化了自畫像的 強烈心境，炯炯有神的雙眸直視著前方，靜謐且 面無表情的五官既威嚴又彷彿帶著無言的思緒， 讓觀者不經意間被吸入那波濤洶湧的情緒之中。 曾梵志在具象繪畫的基礎上，採用了一種源自於 行動繪畫的創作過程，這使得「我們」系列在技 法上遊走於抽象與具象之間，也讓觀者得以一窺 藝術家孜孜不倦追求突破的決心。抽象繪畫的創 作可以說是一種直視藝術家內心的方式，有時情 緒非常直白，寧靜憂鬱的藍色平塗或者是激揚的 紅色大筆觸都能展現藝術家的心緒。然而《我們 系列．自畫像》中如此反覆旋轉的自動化筆觸令 人不禁聯想到塞．托姆布雷的自動繪畫，既是曾 梵志在自畫像上為了自我保護的一層知性面紗， 亦是一種喃喃自語式的情緒釋放，在鮮紅的肉色

曾梵志在中國當代藝術家之中，無論是成就或是藝

映照下，既抒情又保有一種刺激的暴露感。猶如

術性都是相當突出和獨特的，他對於中國當代藝術

藝評家黃篤所言：「曾梵志的繪畫核心在於筆觸

的發展更是深刻地留下個人的印記。從他的創作可

運動，它既否定了敘事性，又否定了繪畫語言，

以看到藝術家從文化大革命開始，中國社會在高速

但在繪畫的節奏上有著自己的邏輯性。」如此恢

發展下，各種人性的渲染、觀察和體驗。這其中包

弘尺幅的自畫像，就好比藝術家在揭示一場安靜

括了藝術家日常的經驗，也包括了生活的記憶和心

的獨白，唱著自己內心的歌，在畫面上泛起了回

境的轉變。2001年以降，曾梵志畫中人像逐漸卸

憶的漣漪，讓曾梵志在創作的漫漫路途上進入了

下面具，他藉由德國表現主義的手法和敏銳的色彩

內省的至高層次。

感覺，將符號化的特徵轉為表象，迎來了個人創作 的萌芽和持續發展。2002年他開始著手「我們」 系列，畫面充斥著非邏輯的偶然性自動筆觸，將繪 畫的節奏提升至嶄新的語境。 受到「亂筆」系列的影響，曾梵志重新定義自己 的創作方向及風格，源自中國書法狂妄不羈的草

法蘭西斯．培根《自畫像》1971年作 法國 巴黎 龐比度中心藏 Francis Bacon, Self-portrait , 1971, Collection of Centre Pompidou, Paris, France

書特質，有著另類的力量感和色彩魅力，音樂般

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ZENG FANZHI

SELF PORTRAIT

The core of Zeng Fanzhi’s painting lies in the movement of the brush, which denies both narrative and painting language, but has its own logic in the rhythm of the painting.

- Huang Du

Zeng Fanzhi is one of the most prominent and unique contemporary Chinese artists, both in terms of his achievements and artistry. He has left a profound personal mark on the development of Chinese contemporary art. From his works, we can find the artist's rendering, observation and experience of human nature starting from the rapid development of Chinese society to the Cultural Revolution onwards. Since 2001, Zeng Fanzhi's portraits have gradually been stripped off their masks. Thanks to the influence of German Expressionism and a keen sense of colour, the artist transforms symbolic features into representations, ushering in the budding and continuous development of his own artistic creation. He started the creation of We series in 2002. The series is full of illogical, accidental and automatic brushstrokes that elevate the rhythm of painting to a new context.

Influenced by the Luan Bi or Abstract Landscape series, Zeng Fanzhi redefined the direction and style of his works.

Derived from the wild and unruly qualities from the cursive scripts of Chinese calligraphy, the spontaneous and automatic strokes and unique compositions allowed him to establish a new system with an unusual sense of power, colour and musical rhythm. As commented by the art critic Lu Peng, "He [Zeng Fanzhi] decided to abandon the possibility of transformation from the Western art

he was familiar with, and attempted to find a new, selfconsistent temperament in traditional Chinese landscape painting. He experimented with rationality on canvas with the application of free lines to the canvas by clasping two brushes in his hand, a clear return to the serendipity of his early years. However, it is the disorderly entanglement of the lines that allows the artist to radically break away from the cruelty and brutality of Westernised expressionism and embrace the warmth and inwardness of the civilisation in which he lives." In We Series: Self-Portrait (Lot 13), the red skin tone inherits the core of the artist's work. The extremely enlarged composition reinforces the intense mood of the self-portrait, with the gleaming eyes looking straight ahead, and the quiet, expressionless features giving the audience both majestic and seemingly speechless feeling, allowing the viewer to be drawn into the turbulent and passionate emotions.

with a straightforward emotion. From the melancholy flat colouring of blue to the aggressive red brushstrokes.

However, in We Series: Self-Portrait, the automatic brushstrokes are so repetitive and swirling that one cannot help but think of Cy Twombly's automatic drawing. This is both a veil of self-protection and a mumbling release of emotion in Zeng Fanzhi's self-portraits, which are lyrical yet retain an exciting sense of exposure against the bright red flesh tones. As art critic Huang Du says, "The core of Zeng Fanzhi's painting lies in the movement of the brush, which denies both narrative and painting language, but has its own logic in the rhythm of the painting". A self-portrait of this magnificent size is like the artist revealing a quiet monologue, singing a song from his heart, creating ripples of memory on the surface of the painting, allowing Zeng Fanzhi to enter the highest level of introspection on his long journey of art creation.

On the basis of figurative painting, Zeng Fanzhi adopted the creative process derived from Action Painting, which allows works from the We series to move between abstraction and figuration in terms of technique. It is also a testament to the artist's determination to pursue breakthroughs in his work. The creation of abstract painting can be said to be a way to look directly into the artist's heart, sometimes

塞．托姆布雷《無題（紐約市）》1968年作 蘇富比 紐約 2015 年11月11日 成交價：70,530,000美元 Cy Twombly, Untitled (New York City) , 1968, Sotheby's New York, 11 November 2015, Sold for USD 70,530,000

MODERN AND CONTEMPORARY ART

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13 ZENG FANZHI 曾梵志 CHINESE, B. 1964

We Series - Self Portrait

我們系列·自畫像

Painted in 2002 oil on canvas 250 x 174 cm. (98 1/2 x 68 1/2 in.) dated and signed '2002 Zeng Fanzhi' (lower right)

2002 年作 油彩 畫布 款識：2002 Zeng Fanzhi（右下）

PROVENANCE

Christie's Hong Kong, 27 November 2011, Lot 1407 Acquired from the above sale by the present owner EXHIBITED

China, Shanghai, Shanghai Art Museum, I/We: The Paintings of Zeng Fanzhi 1991-2003, 8-15 March, 2003.

HK$ 7,500,000 - 10,000,000 US$ 961,500 - 1,282,100 96

POLY AUCTION HONG KONG

來源

佳士得 香港 2011年11月27日 編號 1407 現藏者購自上述拍賣 展覽

2003年3月8-15日「我和我們：曾梵志的繪畫19912003」上海美術館 上海 中國

MODERN AND CONTEMPORARY ART

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ZHANG XIAOGANG 張曉剛

大家庭 No.7

ZHANG XIAOGANG 繪於1998年的《大家庭No. 7》(Lot 14)，正是張曉剛最為人稱道的系列。透過挪用60、70年代的中國典型 家庭照片，張曉剛反射出從個人到家庭，從家庭到社會的時代記憶；藝術家的筆下有些平靜，有些木然的 人物形象裡，暗示著被壓抑的激情與慾望，散發出一個時代的氣息。一件作品，代表一個時代，這也是張 曉剛「大家庭」系列作品廣為人知，成為中國當代最標誌作品之一的原因。 《大家庭No. 7》的1998年，正值藝術家年富力強的40歲，畫面主角留著當時流行的髮型，張曉剛精心描繪眼 睛、頭髮、面部、一絲不苟的白襯衫、鈕扣，例如晶瑩的眼睛瞳孔，再到畫面背景的細緻處理，都是藝術家認 真對待作品的精妙表現。張曉剛用那一條代表親情、友情等社會關係的血緣絲線，連結畫面的兩位青年男女。 藝術家的大家庭系列作品中，不同的畫面裡有不同的主人翁，可能是一家三人行，可能是一對夫妻，可能是兄 妹，可能是友人，而《大家庭No. 7》的雙人主角，正值熱血飛揚的年歲，卻同樣有著「大家庭」系列裡所有 主人翁一貫的平靜木然神色，在青春的臉龐裡表現出最大的反差，時代的壓抑感，透過刻板的形象散發而出。

芙烈達．卡蘿《兩個芙烈蘿》1939年作 墨西 哥 墨西哥城 現代美術館藏 Frida Kahlo, Las dos Fridas , 1939, Collection of Museo de Arte Moderno, Mexico City, Mexico

90年代，正值中國當代藝術創作力爆發的年代，當時的青壯輩藝術家瘋狂汲取西方當代藝術前輩的養分， 反芻出自己的語言。李希特無疑是影響眾多中國當代藝術家的巨擘，他的失焦照片肖像作品系列，透過畫 中人物提醒人們不要忘卻的時代記憶。張曉剛的作品，同樣是挪用時代的照片，他精密的筆法，雖是寫實 技法，卻成為張曉剛式的人物，描繪出目光冷凝的主人翁，我們無法感知畫中人物的情緒，卻能透過其它 制式的細節，例如服裝、髮型到人物的站位姿態，感知到了歷史。經歷過60年代、70年代中國社會的人 們，從中得到了共鳴，而青年一代，能透過作品回望過去。 張曉剛的「大家庭」系列作品中，畫面有時候會有一位主角，臉龐以不同顏色的光斑處理，包括黃色，紅 色到紫色三個色系，是藝術家最常選用的顏色。此件作品，女孩臉龐是淺紫色的光斑，象徵藝術家挪用經 過歲月沉澱的老照片，指涉出對時代的反思。在《大家庭No. 7》畫作前，我們透過凝望著這兩位青年男 女，回想，再前進。張曉剛在四十而不惑，精神體力正值滿盈的那個時刻，將創作力濃縮至這一幅作品， 讓我們的思緒飄回半世紀前。

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ZHANG XIAOGANG

BIG FAMILY NO. 7

1.

Big Family No. 7 (Lot 14) painted in 1998 is one of Zhang Xiaogang's most acclaimed series. Through the appropriation of photographs of typical Chinese families from the 1960s and 1970s, Zhang Xiaogang reflects the memories of the times from the individual to the family, and from the family to society. The somewhat calm and dull figures under his brush suggests repressed passions and desires, expressing the atmosphere of an era. Showcasing an era with one piece of painting is the reason why Zhang Xiaogang's Big Family series has become so widely known and one of the most iconic works of contemporary China.

At the age of 40 in the year 1998, when the Big Family No. 7 was painted, Zhang Xiaogang carefully depicted the eyes, hair, face, meticulous white shirts and buttons. The delicate handling of the crystalline pupils of the eyes and the background are all subtle expressions of the artist's seriousness in his work. Zhang Xiaogang uses the thread of blood, which represents social relationships such as family

2.

and friendship, to connect the two figures of the painting, the young man and woman. In the Big Family series, there are different protagonists in different scenes, which may be a family of three, a couple, brother and sister, or friends, but the two protagonists in Big Family No. 7 are in the prime of their lives, yet they have the same calm and dull look of all the protagonists in the Big Family series.

The greatest contrast is expressed in the youthful face, the depression of the times, which radiates through the stereotypical image.

The 1990s coincided with an explosion of Chinese contemporary art creativity, when young and youngat-heart artists frantically drew on their Western contemporary art predecessors to regurgitate their own language. Gerhard Richter is undoubtedly one of the giants who influenced many Chinese contemporary artists, and his out-of-focus photographic portrait series reminds people of the times through the figures in his paintings. Zhang Xiaogang's works are also appropriations of photographs at specific times. His sophisticated brushwork, though realistic, portrays the protagonists with the condensed gaze, making them typical figures of Zhang Xiaogang. We cannot perceive the emotions of the characters in the paintings, but we can perceive the history through other stipulated details, such as costumes, hair styles and the way the characters stand. People who experienced Chinese

society in the 1960s and 1970s can relate to this work, and the younger generations can have a taste of the past.

In his Big Family series, sometimes there is a protagonist whose face is treated with patches of light in different colours, ranging from yellow, red to purple, the three colours most often chosen by the artist. In this work, the woman's face is painted with a light purple patch of light, symbolising the artist's appropriation of an old photograph that has been aged to present a reflection on the times.

Standing in front of the Big Family No. 7, we can look back into the history and move forward by gazing at the young couple. Created at a time when Zhang Xiaogang is at the end of his forties and at the height of his mental and physical strength, this piece of work is the concentration of his creative energy, transporting our thoughts back to half a century ago.

1. 中國60年代的老照片 An old Chinese photo from the 60's 2. 張曉剛於成都工作室，背後作品為《大家庭No. 7》 Zhang Xiaogang's studio in Chengdu, with Big Family No. 7 at the back

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14 ZHANG XIAOGANG 張曉剛 CHINESE, B. 1958

Big Family No. 7

大家庭No. 7

Painted in 1998 oil on canvas 130 x 100 cm. (51 x 39 1/2 in.) signed in Chinese; signed and dated 'Zhang Xiaogang 1998.' (lower right)

1998 年作 油彩 畫布 款識：張曉剛. Zhang Xiaogang 1998.（右下）

PROVENANCE

Poly Auction Beijing, 4 June 2016, Lot 6729 Acquired from the above sale by the present owner EXHIBITED

China, Chengdu, Upriver Gallery, Upriver Gallery Collection Exhibition, 1998.

LITERATURE

Upriver Gallery, Tianjin Science & Technology Press, Tianjin, China, 2000 (illustrated, p. 63).

HK$ 5,000,000 - 8,000,000 US$ 641,000 - 1,025,600 102

POLY AUCTION HONG KONG

來源

保利 北京 2016年6月4日 編號 6729 現藏者購自上述拍賣 展覽

1998年「首届上河美術館收藏展」上河美術館 成都 中國 出版

《上河美術館》天津社會科學院出版社 天津 中國 2000 年（圖版，第63頁）

MODERN AND CONTEMPORARY ART

103

BALTHUS 巴爾蒂斯

玩空竹的小女孩

Lot 15

1.

在近百年的藝術史裡，巴爾蒂斯已然在具象繪畫領

詩人里爾克（Rainer Maria Rilke），里爾克鼓勵

域奠定不可動搖的地位。他出生在第一次世界大戰

巴爾蒂斯邁向創作，而原名Balthasar Klossowski

爆發前六年的1908年，沒有受過完整學院訓練的

de Rola的巴爾蒂斯，就在里爾克的鼓勵下，使用

他，歷經了一戰與二戰，成長時期正是現代藝術

Balthus巴爾蒂斯的名字，終其一生。

大變革的激烈時代，立體派、野獸派、抽象藝術、 超現實主義、抽象表現主義、極簡主義、普普藝 術…，無數藝術革新的浪潮席捲而來，巴爾蒂斯卻 是畢生熱情擁抱古典主義，堅守具象繪畫的畫家。

巴爾蒂斯以傳統的油彩，描繪青春少女而廣為人 知，卻也引發爭議。批評人士認為他褻瀆、意淫 了少女，有些作品畫面中少女分開雙腿，或是裸 露性徵的畫面帶有性暗示，使巴爾蒂斯一直承受

巴爾蒂斯於1930年創作《玩空竹的小女孩》(Lot

這樣的抨擊。但其實綜觀巴爾蒂斯一生的創作，

15)，當時他22歲；在1925年，他就開始這幅作

約350幅油畫、1600幅素描草稿，包括風景、靜

品的素描草圖創作，當時的巴爾蒂斯已經返回巴

物、人物畫像，其中有著姿態迥異的青春少女，

黎。在他出生後，家人為了躲避歐戰，最終落腳

既有儀態謙遜，亦有輕舞飛揚，有衣著簡單，也

瑞士；而父母也在1917年離異。1919年，巴爾蒂

有華麗裝扮，以巴爾蒂斯獨特的繪畫語言，把少

斯遇見了他藝術創作的啟蒙者，即是與其母親芭

女時代美好到憂鬱的各式各樣情緒，透過巴爾蒂

拉提妮（Baladine Klossowska）相戀的著名德國

斯的獨到觀察而展現。

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BALTHUS 1930年的《玩空竹的小女孩》，如若從草稿開

數作品，巴爾蒂斯面對眼前的自然，從內心發自

始的1925年開始計算，正是巴爾蒂斯繪畫語言

對天地，對眼前人物的禮讚。巴爾蒂斯崇尚普桑

逐漸奠定基礎的時期，他在此時期待在巴黎，親

與塞尚，他這樣說：「他 [塞尚] 真正認識到萬物

炙一戰後巴黎的風華年代，既有先輩前賢奠定的

有靈，作品通過形式呼應自然，貼近自然，與自

基礎，亦有四面八方的藝術家匯聚，彼時紐約尚

然交流。這就是塞尚的理解，是他在說出『我的

未崛起，歐洲巴黎仍然是藝術之都，巴爾蒂斯結

目的，是面對自然畫出像普桑那樣的作品』這句

交各方文藝友人，激盪創作；他在1926年來到

話時試圖表達的。這種節奏、呼應，也是我的追

義大利佛羅倫斯，臨摹描繪多幅文藝復興時期的

求…我想，它是所有偉大畫家的追求。」巴爾蒂

壁畫，這一經歷深刻影響一生的創作，宗教的儀

斯在22歲畫出《玩空竹的小女孩》，透過這片林

式感，轉化為巴爾蒂斯作品深具敘事感的劇場張

木、玩空竹的少女帶給我們對青春自然的謳歌，

力，吸引觀者投入。

亦是他從普桑到塞尚汲取的養分，開創日後屬於 巴爾蒂斯的繪畫語言。

《玩空竹的小女孩》一作，少女的身形已經有著 日後巴爾蒂斯帶有「僵直體態」特色的雛形，畫 家以後印象派的手法描繪主角與周遭的樹木、林 間與天際景象，細看筆觸，可以發現22歲的巴爾 蒂斯筆力已然流暢驚人，畫面沒有陽光，好似青 春期憂鬱的小苦惱，卻透過少女腰間的飄帶，舉

1. 巴爾蒂斯《玩空竹的小女孩》1925年作 Balthus, Fillette Jouant au Diabolo , 1925

頭仰望空竹的動作，拋卻苦悶與憂愁，讓畫面帶 來青春的希望之光。而4年後，巴爾蒂斯在Pierre

2. 巴爾蒂斯的照片 A Photo of Balthus

Loeb的畫廊，展出了《吉他課》（La Legon de guitare）一作震撼藝壇。

3. 巴爾蒂斯 《做夢的特蕾莎》1938年作 美國 紐約 大都會藝術博 物館藏 Balthus, Thérèse Dreaming , 1938, Collection of The Metropolitan Museum of Art, New York, USA

從1930年《玩空竹的小女孩》作品到日後的無

2.

3.

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真正的現代性在於對過去的重 塑，在經驗和發現的基礎上再 創新。

──巴爾蒂斯

True modernity consists in reshaping the past and reinventing itself based on experience and discovery - Balthus

BALTHUS

JEUNNE FILLE JOUANT AU DIABOLO For almost a century, Balthus has been an unshakable figure in the field of figurative painting. He was born in 1908, six years before the outbreak of World War I. He was not fully trained in the academy, but he lived through World War I and World War II. He grew up at a time of great changes in modern art, when cubism, fauvism, abstract art, surrealism, abstract expressionism, minimalism, pop art, and so on, were sweeping in one after another. He was a lifelong enthusiast of classical painting and a strong believer in figurative painting.

Balthus created Jeunne fille jouant au Diabolo (Lot 15) in 1930 when he was 22 years old. He began sketching this work in 1925 as after he had returned to Paris. After his birth, his family fled the European war and ended up in Switzerland, and his parents separated in 1917. In 1919, Balthus met his inspiration for artistic creation, the famous German poet Rainer Maria Rilke who was in love with his mother Baladine Klossowska. Rilke encouraged Balthus to start a life-long art journey, and Balthus, originally known as Balthasar Klossowski de Rola, was encouraged by Rilke to use the name Balthus for the rest of his life.

Balthus is well known for his traditional oil paintings of young girls, but he also provoked controversy. Critics say that he profaned and molested young girls with some of his works showing young girls with their legs spread apart or exposing their sexuality in a sexually suggestive way. This led to a constant source of criticism for the artist. However, an overview of Balthus' work that includes some 350 oil paintings and 1,600 sketches, including landscapes, still life paintings and portraits of young girls in a variety of poses, ranging from modest and graceful to lively and flexible, from simple dressing to flamboyantly dressed, all with Balthus' unique painting language. His works are a unique expression of Balthus' unique observation of the beauty and melancholy of girlhood.

Jeunne fille jouant au Diabolo was created in 1930, but if we take a closer look at its beginning in the form of draft in the year of 1925, it was a time when the foundations of Balthus' painting language were being laid. He was in Paris during this time. It was also post-World War I era in Paris, a time when the foundations of his predecessors were laid and artists from all corners of the world converged, when New York had not yet emerged and Paris was still the capital of art in Europe. Balthus met people from all walks

of life and absorbed inspirations for creativity. In 1926 he went to Florence, Italy, to copy and paint a number of Renaissance murals. It was an experience that profoundly influenced his work throughout his life. The sense of religious ritual was translated into the theatrical tension of his deeply narrative works that draws the viewer in.

In Jeunne fille jouant au Diabolo, the young girl has taken on the shape of the 'rigid physique' that would later characterise Balthus' work. The artist's post-impressionistic depiction of the protagonist and the surrounding trees, woods and skies reveals that the 22-year-old Balthus' brushwork is already surprisingly fluid. The picture is devoid of sunlight, as if it is a light adolescent depression, but through the floating belt around the young girl's waist and the movement of raising her head to look up at the bamboo, she throws away her boredom and sorrow, bringing the light of youthful hope to the scene. Four years later, Balthus showed La Legon de guitare at Pierre Loeb's gallery, which instantly impressed the art world.

From his 1930 work Jeunne fille jouant au Diabolo to his numerous subsequent works, Balthus confronted nature in front of his eyes with a heartfelt tribute to heaven and earth and to the people in front of him. Balthus admired Nicolas Poussin and Paul Cézanne, who said: "He [Cézanne] really understood that everything has a spirit, and that his work echoes nature through form, is close to nature, and communicates with nature. This is what Cézanne understood, what he was trying to express when he said, 'My aim is to paint like Poussin in the face of nature'. This rhythm, this echo, is also what I'm after... I think it's what all great painters are after". Balthus painted Jeunne fille jouant au Diabolo at the age of 22, and through this bamboo forest, the young girl playing with the diabolo, he brings us a song about youthful nature, and the nourishment he drew from Poussin to Cézanne, creating a painting language that would become Balthus' own.

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PROPERTY FROM A DISTINGUISHED ASIAN PRIVATE COLLECTION

亞洲頂尖私人收藏

15 BALTHUS 巴爾蒂斯

FRENCH, 1908-2001

Jeunne fille jouant au Diabolo

玩空竹的小女孩

Painted in 1930 oil on canvas 80 x 65 cm. (31 1/2 x 25 1/2 in.) signed and dated 'Balthus 1930' (on the reverse)

1930 年作 油彩 畫布 款識：Balthus 1930（畫背）

PROVENANCE

Sotheby's London, 5 February 2003, Lot 204 Gagosian Gallery, Hong Kong, China Private Collection, Asia EXHIBITED

Italy, Rome, Scuderie del Quirinale, Académie de France à Rome-Villa Medici, The Retrospective, 24 October, 2015-31 January, 2016.

HK$ 2,800,000 - 3,600,000 US$ 357,900 - 460,100 108

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來源

蘇富比 倫敦 2003年2月5日 編號204 中國 香港 高古軒畫廊 亞洲 私人收藏 展覽

2015年10月24日-2016年1月31日「回顧展」奎琳娜藝 廊及羅馬法國學院─美第奇別墅 羅馬 義大利

MODERN AND CONTEMPORARY ART

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LÉONARD TSUGUHARU FOUJITA 藤田嗣治

紅帽女孩

二十世紀初的巴黎是世界藝術的中心，各國藝術

方的日本藝術家，一躍成為當時巴黎藝術圈最受

家蜂擁而至，西班牙的畢卡索、義大利的莫迪里

認可的亞洲藝術家。獨特的創作語言讓他在大師

亞尼、俄羅斯的夏加爾等等。當時的巴黎代表著

輩出的「巴黎畫派」中出類拔萃，奠定其重要的

最前衛的先鋒藝術文化，形成了為後人熟知的

國際藝壇地位。

「巴黎畫派」，一派百家爭鳴之盛況。

五十年代的藤田嗣治經歷了拉丁美洲的遊歷，

藤田嗣治將日本傳統繪畫中精緻而蜿蜒的線條，

重回日本及戰亂等十餘年的漂泊生活，最終得

及東方的留白空間美學融入油畫創作，再加之浮

以重返巴黎，開啟其第二階段的巴黎創作生涯。

世繪中「暈色」之技法，以「乳白色肌膚」為其

此時，藤田的作品與早期有明顯轉變，在保留細

在人才輩出的巴黎打響名頭。自此，來自神秘東

膩纖長的線條筆觸同時，色彩構圖上運用也趨於

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LÉONARD TSUGUHARU FOUJITA

所有這些小女孩都有著如絲綢般光滑的前額。 他們的神情是嚴肅的，張大的瞳孔看似空洞地

注視著，卻又猶如一潭深不可測的井水，蕩漾 著無法言說的智慧，讓我們觀者不禁想要低下 眼神躲開這些來自孩童的銳利注視眼神。

──藝術評論家羅伯特·雷

成熟豐富。在創作題材上，經歷戰亂的藝術家回

藤田嗣治《有貓的女孩》1995年作 iART Co., LTD. 東京 2021年11月27日 成交價： 60,000,000日幣 Léonard Tsuguharu Foujita, Jeune Fille Aux Chats , 1955, iART Co., LTD. Tokyo, 27 November 2021, Sold for JPY 60,000,000

意欲指向某處。宗教繪畫中，右手的手勢用以代

到法國後，心境上有了巨大改變，更是與妻子於

表對世人的祝福，可見宗教繪畫對藝術家創作的

1959年接受洗禮，不僅身份上歸入法籍，更在文

影響。作為晚期創作的精品，《紅帽女孩》以藤

化思想上皈依了天主教。而孩童代表著的至純至

田嗣治經典的筆觸既展現了對人物膚色描繪的精

善與充滿希冀正是藝術家在此人生階段渴望需要

湛技法，同時體現晚期時宗教思想的啟迪，以及

的。這一時期藝術家筆下的創作題材也從裸女這

藝術家對色調掌握的絕妙掌握，實為囊括了藤田

一主要題材進而轉向對孩童抑或母子像的描繪。

嗣治藝術創作技法的大成之作品。

此次上拍作品《紅帽女孩》(Lot 16) 創作於1958 年，正是藝術家接受洗禮的前一年，畫面背景似 乎鑲嵌著左右兩根木框，畫面的構圖結構接近藝 術家此時人物肖像中常用的左右對稱背景，從而 更強調突出畫面主體—戴著紅帽的女孩。細細端 詳畫面背景的描繪，淺藍至白背景漸變充滿了藝 術家細膩漸變的光影質感處理，層次細緻豐富。 畫面中女孩的髮絲細如針線，面容的描繪手法明 顯可見西方文藝復興時期作品對人物面容的處 理，彷彿有自然光源於人物面部，細密的陰影對 比創造出臉龐的飽滿可愛，同時反映出人物的柔 美膚色質感。藝術家細緻的筆觸同時體現在對女 孩衣著紋理的勾勒，藝術家以細緻的冷暖及高光 色調的對比呈現出衣裳的紋路，淺黃綠色調的袖 子與中心紅色色調搭配得宜。再加之頭頂紅色的 帽子，十分吸引觀者眼球。鮮艷紅色佔據作品面 積並不大，與畫面的整體乳白色調顯得十分和 諧，也使得精緻的作品畫面顯得鮮艷明快而又不 失高雅。藝術家對女孩的手部繪畫顯然下足了功 夫，女孩右手二指與三指併和，左手食指也彷彿

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LÉONARD TSUGUHARU FOUJITA

PORTRAIT DE JEUNE FILLE AU BONNET ROUGE

At the start of the twentieth century, Paris was the center of the art world. Artists from all over the world such as Picasso from Spain, Modigliani from Italy, and Chagall from Russia respectively moved there to advance their career. Representing the forefront of avantgarde art and culture, Paris saw the establishment of the famous School of Paris, a flourishing center for hundreds of artists to gather.

Léonard Tsuguharu Foujita integrates the delicate and sinuous lines of traditional Japanese painting and the Eastern aesthetics of white space into his oil paintings, while incorporating the Ukiyo-e technique of "blending colour" to create the "milky-white skin" of his subjects. With this method, his reputation grew even amongst the amazing talents in Paris. Coming from the mysterious East,

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this Japanese artist soon became the most recognized Asian artist in the art community of Paris at the time. His unique creative language enabled him to stand out even among the masters of the School of Paris, achieving him an important position in the international art circle.

Foujita returned to Paris in the 1950s after experiencing a life of wandering through Latin America and returning to Japan during the war. Finally, he was able to start the second stage of his creative career there. At this time, a clear distinction from his earlier works can be seen. While still retaining the delicate, slender lines and brushstrokes, his use of colour and composition exuded a sense of maturity and richness. In terms of creative subject matter, the artist's mood had changed dramatically after experiencing

war and chaos. Foujita and his wife were baptized in 1959. Not only did he become a French citizen, but he also converted to Catholicism, embraced France both culturally and ideologically. The pureness, perfection, and hope represented by children was exactly what the artist needed at this stage of life. As a result, the creative subjects depicted by the artist also shifted from nude women to portraits of children and mothers.

The work, Portrait de jeune fille au bonnet rouge (Lot 16), was created in 1958, a year before the artist's baptism.

The girl sits in between by two wooden frames in the background. The composition of the picture is similar to the symmetrical left-right background commonly used in the artist's portraits at this time, which serves to emphasize the main subject of the picture - the girl in the red hat.

Through a careful examination of the background, the light blue to white background gradient is filled with the artist's delicate and gradual processing and texture of light and shadow, along with richly detailed layers. The strands of the girl's hair are as thin as threads. The depiction of her face clearly shows a Renaissance period method of treatment. It is as if there is a natural light source, enabling a fine contrast of light and shadow that creates a full face, while simultaneously reflecting the character's soft skin

拉斐爾《年輕女子與獨角獸的肖像》15051506年作 意大利 羅馬 博爾蓋塞美術博物館藏 Raphael, Portrait of Young Woman with Unicorn , 1505-1506, Borghese Gallery, Rome, Italy

tone. The artist's meticulous brushwork is also reflected in the texture outline of the girl's clothing. The artist paints the texture of the clothes with a delicate contrast of cool, warm, and high tones of light. In contrast to the central red tone, the light yellow and green sleeves paired with the red hat on her head are very eye-catching. The bright red does not actually occupy a large area of the work. In fact, it is very harmonious with the overall milky white tone of the work, which also makes the picture of the delicate work appear bright, lively and elegant. It is clear that the artist has placed much effort into painting the girl's hand. The second and third fingers of the girl's right hand are aligned, and the index finger of her left hand also seems to be pointing somewhere. In religious paintings, gestures of the right hand are used to represent blessings to the world. As a result, their influences on the artist's work can be seen.

As a masterpiece created in the later period of his career, Portrait de jeune fille au bonnet rouge embodies the classic brushstrokes of Foujita, in which one can see an exquisite technique used to depict the skin colour of the characters.

At the same time, it also reflects the religious revelations he experienced during the later period of his career, and his excellent mastery of colour tone. It is a masterpiece that incorporates Foujita's artistic techniques.

All these little girls have foreheads as smooth as silk. Though their expressions are solemn with eyes staring blankly, they are like an unfathomable well of unspeakable wisdom. As viewers, we can’t help but want to lower our eyes to avoid their sharp gazes.

- Robert Ray, Art Critic

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16 LÉONARD TSUGUHARU FOUJITA 藤田嗣治 JAPANESE-FRENCH, 1886-1968

Portrait de jeune fille au bonnet rouge Painted in 1958 oil on canvas 22.3 x 16.4 cm. (9 x 6 1/2 in.) signed 'Foujita' (bottom); dated and signed '58 Foujita' (on the stretcher) PROVENANCE

Acquired directly from the family of the artist circa the 1960s Paul Petrides Gallery, Paris, France Private Collection Private Collection, Asia This work will be included in the artist's forthcoming catalogue raisonné prepared by Sylvie Buisson.

HK$ 1,400,000 - 2,400,000 US$ 179,500 - 307,700 114

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紅帽女孩 1958 年作 油彩 畫布 款識：Foujita（底部）；58 Foujita （畫背內框） 來源

約1960年直接購自藝術家家屬 法國 巴黎 Paul Petrides 畫廊 私人收藏 亞洲 私人收藏 此作將收錄於由希薇．布伊森正籌備編纂的《藤田嗣治 作品編年集》

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LIN FENGMIAN 林風眠

一花一世界 林風眠的自畫像

所謂寫意，所謂單純，是就很複雜的自然現象中，尋出最足以代 表它的那特點、品質、同色彩，以極有趣的手法，歸納到整體的 意象中以表現之的，絕不是違背了物象的本體，而徒然以抽象的 觀念，適合於書法的趣味的東西！

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──林風眠

LIN FENGMIAN

1979年，席德進為林風眠出了一本畫冊，題名 《林風眠畫集》。席德進在終章的最後一段這樣 寫：「最後，我用這一本書來表達我對林風眠老 師的熱忱，祝福他再畫下去，創造更輝煌的藝 術。」席德進，是林風眠的杭州藝專關門弟子， 他在1979年於香港舉行畫展時，與恩師林風眠 會面三次，得知了更多恩師的人生際遇而寫出這 本《林風眠畫集》。畫集裡僅收錄了兩幅瓶花花 卉，保利香港十周年拍賣的《瓶花》(Lot 17) 即是 其中之一，首次於市場曝光珍貴非凡。

眠獨有的瓶花，一股澄靜致遠的氣質。 瓶花作品裡，奼紫嫣紅的花瓣占據了畫面中心向 外延展，清貴而華美。就如吳冠中所言，林風眠 力求最大的體量感，卻絲毫不顯局促，大器磅 礡。這樣的花語，恰是林風眠一生的寫照，吳冠 中形容恩師：「遠離名利，在逆境中不斷潛心鑽 研，玉壺雖碎，冰心永存。」這束花，恰恰是這 位影響中國現代美術史一百年，作育無數英才的 林風眠一生寫照。

相較於仕女、山水與京劇題材等作品，林風眠的 瓶花作品存世數量稀少，一花一世界，姿態各異 的花卉，是藝術家內心世界的反射，是藝術家的 自畫像。畫幅為方型，方型構圖恰是林風眠最喜 愛的構圖。林風眠的杭州藝專弟子吳冠中這樣分 析：「方，意味著向四方等量擴展，以求最完 整、最充實的內涵。圓，亦是擴展到最大量感的 結果。從造型角度看，方與圓近乎等值，是孿生 兄妹。林風眠的方形畫面中往往只容納一個圓， 所有的空間都被集中調配，構成一統天下與大氣 磅礡之感。最明顯的例子是雞冠花、大理花、 繡球花、菊花等各樣盆花及水果、瓶罐等靜物組 合，令人感到無限飽滿。其花卉什物的弧曲線在 方形宇宙占盡風流，即使畫面不大，氣勢卻寬闊 博大。」這幅瓶花，正吻合了吳冠中對林風眠作 品的點評。 《瓶花》有著林風眠典型的「計黑當白」背景。 中國傳統書畫的空白，以「計白當黑」留白營造 空間感，而林風眠反其道而行，以深色的背景襯 托飽滿的亮色，在暗黑的背景描繪奼紫嫣紅的花 朵，烘托出幽遠莫測，無法目測掌握的空間感； 而背景靜謐的氛圍，同時也帶出了那一絲詩意 的，美的孤獨，實為林風眠「計黑當白」的創 新。細膩勾勒彷如層層掩映的花瓣，實為藝術家 千錘百鍊的筆力展現。從花束後方隱隱透出的黃 光光暈，正是林風眠於夜深人靜時，在工作室與

文森．梵谷《向日葵》1888年作 英國 倫敦 國家美術館藏 Vincent van Gogh, Sunflowers , 1888, Collection of National Gallery, London, UK

那一盞黃色燈泡相伴，為藝術戰的光明佐證。幽 深的背景，微黃的光暈，紫紅的花束，構成林風

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VASE OF FLOWERS

LIN FENGMIAN

EACH FLOWER IS A UNIQUE WORLD - A SELF-PORTRAIT OF LIN FENGMIAN In 1979, Shiy De-jinn published a book of paintings for Lin Fengmian, entitled Lin Fengmian's Paintings. In the last paragraph of the final chapter, he wrote: "At last, I am able to dedicate this book to Lin Fengmian, to express my admiration and my best wishes for him to create even better arts". Shiy was the last student of Mr. Lin during his years at the Hangzhou National College of Art. He met his mentor three times during an exhibition of Mr. Lin in Hong Kong in 1979 and learned more about his life, which inspired him to write this book. Two paintings featuring Vase of Flowers (Lot 17) were collected in this book, one of which is Vase and will be up for auction at Poly Auction Hong Kong's 10th Anniversary Sale, making it a debut in the market.

Lin Fengmian's vase flowers are relatively scarce in number compared to his works on ladies, landscapes and Peking Opera. Each flower is a unique world and a reflection of the artist's inner world in its unique form, serving as a selfportrait of the artist. The painting is square in shape, a favourite composition of Lin Fengmian. Wu Guanzhong, a student of Lin Fengmian commented the painting as follows: "Square means to expand in all directions in equal measure in order to achieve the most complete and full connotation. The circle, too, is the result of expansion to the maximum amount of sense. From a stylistic point of view, the square and the circle are nearly equal as twin siblings.

Lin Fengmian's painting in square canvas often contain only one circle, with all space concentrated and deployed to create a sense of unity and grandeur. The most outstanding example is the combination of potted flowers such as cockscombs, dahlias, hydrangeas and chrysanthemums, as well as still life such as fruit and jars, which is infinitely fuller.

The curved lines of the floral objects dominate the square

universe, giving a vast and expansive sense of the painting even though the scene is small". This vase of flowers echoes his commentary on Lin Fengmian's work.

Vase of Flowers is presented on Lin Fengmian's typical 'black as white' background. In traditional Chinese painting and calligraphy, white space is used to create a sense of space, but Lin does the opposite, using a dark background to set off the saturated light colours, depicting colourful flowers against a dark background, creating a sense of space that is unpredictable and impossible to grasp. The tranquil atmosphere in the background also brings out a touch of poetic beauty and solitude, which is indeed his innovation of 'black as white'. The delicate outline of the flower petals by layers upon layers is an expression of the artist's mastery of well-seasoned skill. The glow of yellow light from behind the bouquet is a testament to the brightness of Lin Fengmian's artistic battle in his studio in the dead of night, in the company of a yellow light bulb.

The deep background, the yellowish glow and the purplered bouquet form a unique vase of Lin Fengmian's flowers, presenting an aura of clarity and distance.

In the painting, the bright-coloured petals dominate the centre of the painting and extend outwards in a noble and ornate manner. As Wu Guanzhong puts it, Lin Fengmian strives for maximum presence without being overly constricted. Such a floral statement is a reflection of Lin Fengmian's life, as Wu Guanzhong describes his mentor: "careless to fame and fortune, he continued to study in the face of adversity, his love and passion for art is eternal".

This bouquet of flowers is a reflection of Lin Fengmian, who influenced the history of modern Chinese art for a hundred years and nurtured countless talents.

The so-called freehand brushwork and simplicity, is to find out the characteristics, qualities, and the same colour that are most representative of the natural phenomenon. Summarize it into the overall image in a very interesting way to express it. It is definitely not something interesting and contrary to the noumenon of objects, in vain with abstract concepts, something suitable for calligraphy!

- Lin Fengmian MODERN AND CONTEMPORARY ART

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17 LIN FENGMIAN 林風眠

CHINESE, 1900-1991

Vase of Flowers

瓶花

ink and colour on paper 70.5 x 69 cm. (28 x 27 in.) signed in Chinese (lower left) one seal of the artist

水墨 設色 紙本 款識：林風眠（左下） 鈐印：林風暝印

PROVENANCE

Acquired directly from the family of the artist circa the 1970s LITERATURE

Lin Feng Mian, Lion Art, Taipei, Taiwan, 1979 (illustrated, p.

49).

HK$ 1,500,000 - 2,500,000 US$ 192,300 - 320,500 120

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來源

約1970年代直接購自藝術家家屬 出版

《林風眠畫集》雄獅圖書 台北 台灣 1979年（圖版，第 49頁）

MODERN AND CONTEMPORARY ART

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吳冠中

萬物甦醒的田園詩 吳冠中在70年代時歷經多次下鄉，艱苦的生活 不但沒有將他的繪畫熱情熄滅，反而促使他更為 專注在風景題材的創作，在寫生的過程中體驗山 川萬物，進而借景抒情、凝練為心象之美，因此 70年代成為他油畫創作最重要的承先啟後時期， 無數膾炙人口的風景名作，都內涵了藝術家的創 作哲思與獨創的藝術語言，本次夜場的《山村春 暖》(Lot 18)，則是吳冠中描繪農村山景的典範。 繪於1976年的《山村春暖》，從畫面景色與題 名，繪於當年的春天，歷經寒冬的樹木已然新芽萌 發，與農舍後的青色遠山，遙相呼應。吳冠中在 1966年至1976年的文革時期創作，被認為是最珍 罕的作品之一，原因在於當時的政治環境，使藝術 家得在克難的環境下，為藝術而戰的創作作品；在 逆境中誕生的作品，更具備強大的精神力量，此 時期更是吳冠中創作風格邁向成熟的關鍵期。在 1970年吳冠中下放河北獲鹿縣李村，他深刻記得 當時不准畫畫，「不畫的話，我的生命都浪費掉 了，得偷偷的畫，藏在老鄉家。」

保羅·塞尚《從畢貝姆遙望聖維克多山》約1897年作 美國 巴爾 的摩 巴爾的摩美術館藏 Paul Cézanne, La Montagne Sainte-Victoire vue de Bibémus , c. 1897, Collection of The Baltimore Museum of Art, Baltimore, USA

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藝術的學習不在歐洲，不在巴

黎，不在大師們的畫室，在祖

國，在故鄉，在家園，在自己 的心底。

──吳冠中

過吳冠中運用不同青綠黃褐顏料的調色，就在數 十個運筆之間，將山勢的遠近高低、明暗枯榮巧 妙呈現，也帶出春天來臨的「春暖」況味。 前景的林木，更可以看到吳冠中布局之精妙，這是 其勤奮寫生提煉而出的景色。吳冠中說：「我自己 作畫時，也是先遊一遍，構思一番，在小本上或腦 子裡構好圖乃至動手寫生，作成一幅畫往往要變換 幾次寫生地點。」「在山中邊選礦邊煉鐵」，是吳 冠中形容自己在寫生中創作的方法。這一排逾三十 株的林木，橫亙畫布天地，卻透過遠景的青山與山 前的瓦舍，以不同的空間感層次，建構一方結構嚴

70年代的吳冠中根植中國鄉村景色探索「油畫民 族化」之路，開創出屬於自身特性，根植中華大 地的風景之作。吳冠中曾寫道：「（塞尚）作品 堅實、組織嚴謹，冷暖色的複雜交錯，有如某些

密的農村景致，卻絲毫不顯擁擠，這就是吳冠中掌 握點、線至面，再到色彩調和的功力。 而畫面中央偏右，有一株伸展迥異其它林木的樹

帶色彩的礦石……由於反覆推敲，用色厚重，設

木，彷彿扭動身軀，為畫面帶來靈動感，為風景

色層次多，畫面顯得吸油而無光澤，寓華於樸，

畫作帶來生命力。中國古代書畫裡典型的「蟹爪

十分沉著，具有色彩的金石味。」吳冠中受塞尚

樹」，脫胎而成吳冠中《山村春暖》裡生機勃發

影響，構圖力求嚴謹，透過色彩之間的組合構

的林木之首，可說是點睛之筆。吳冠中在前景置

成，形成吳冠中追求、突顯描繪對象的形式美。

入這一排樹木，調動了觀者與後方青山，山前農

《山村春暖》一作，畫面以樹木、房屋、山峰呈

舍間的視線焦點，帶領我們穿梭於林木樹枝之

現了漸進式的景致，構圖與造型虛實交相輝映，

間，進入了山間，進入了農舍，見到了裊裊炊

筆法蒼勁富有氣韻，在視線焦點的轉換之中呈現

煙，見到了掛線曬衣，見到了身著紅衣與綠衣裳

了一個遠處青山可望、近處炊煙裊裊的北方膠東

的村人。中國書畫的可以觀，可以遊，可以居特

山村初春的樸素、寧靜之美。山的顏色層次，透

色，在吳冠中的油彩裡再現。

《山村春暖》一作裡，三位村民穿的紅衣裳與綠衣 裳，更是吳冠中心底最甜最美的家鄉回憶密碼。抗 日戰爭之際，吳冠中隨杭州藝專師生遷校四川，他 看了京劇裡身著大紅袍的角色，又看到四川很多娃 娃穿紅衣，深埋心裡的思鄉情緒就湧出來了。「在 四川，跟同學借了錢，扯了一塊大紅色的布料，我 說啊，在下江（江浙一帶），男的都穿紅的，女的 都穿綠的，你（裁縫）儘管做。後來他真做了。」 吳冠中身穿大紅衣來到了學校食堂，「哇，滿場鼓 掌，因為都是搞藝術的！」在一段訪談裡吳冠中回 憶至此，樂得開懷大笑。 家鄉江蘇宜興的吳冠中，在他心底裡，滿是對故 鄉，對祖國濃濃的情懷。抗戰勝利後，他以美術 生第一名考取公費留學巴黎，是當年唯二的美術 生名額之一，1947年赴巴黎求學，他求知若渴。 在1950年他毅然決定返國服務，給老師吳大羽的 信裡這樣寫道：「藝術的學習不在歐洲，不在巴 黎，不在大師們的畫室，在祖國，在故鄉，在家 園，在自己的心底。」1950年，吳冠中三十一 歲，他信裡的這段話，已經預告了他這一生的不 平凡，一位真正為家園，為藝術而創作的一代宗 師。《山村春暖》一作，標誌著吳冠中獨創的繪 畫語言已臻成熟，更有著濃濃的愛鄉之情，融於 畫中，誠為吳老的經典之作。

李唐《萬壑松風圖》北宋 台灣 台北 國立故宮博物院藏 Li Tang, Wind in Pines Among a Myriad Valleys , Northern Song, Collection of the National Palace Museum, Taipei, Taiwan

WU GUANZHONG

A POETIC AWAKENING IN AN IDYLLIC VILLAGE

The study of art lies not in Europe, not in Paris, not in the studios of the masters, but in the motherland, in the homeland, at home, in one’s own heart.

- Wu Guanzhong

In the 1970s, Wu Guanzhong had several experiences of 'going to the countryside'. Instead of suffocating his passion for painting, the hardships of his life inspired him to focus more on the creation of landscapes, appreciating mountains and rivers in the process of sketching, and then expressing his emotions through the scenery. Depictions of the landscape had expressed the emotions in the heart of the artist, therefore making the 1970s the most important period to inherit the past and usher in the future for his oil painting creations. His numerous popular landscapes are all imbued with the artist's creative philosophy and original artistic language. Warm Spring in the Mountain Village (Lot 18) part of the Evening Sale this time is the best example of his depiction of rural mountain scenes.

Warm Spring in the Mountain Village was painted in the spring of 1976, when the trees have sprouted after a cold winter, echoing the green hills behind the farmhouse. Wu Guanzhong's works from 1966 to 1976 during the Cultural Revolution, are considered as works with the most significant value. It is because of the artist's persistent creation under adverse political environment. Those works born in adversity have more powerful spiritual power, this period is moreover a critical period for Wu Guanzhong's creative style to mature. In 1970, when Wu Guanzhong was sent to the Li village in Huolu County, Hebei province, he recalled

126

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that painting was not allowed, "but if I didn't paint, my life would be wasted, so I had to paint in secret and hide them in the home of fellow-villagers".

In the 1970s, Wu Guanzhong explored the path of 'nationalization of oil painting' by rooting himself in the Chinese countryside, creating landscapes that are unique to him and rooted in the Chinese landscape. Wu Guanzhong once wrote: "(Cézanne's) works are solid and tightly organised, with a complex interplay of warm and cold colours, like some coloured ore…Because of the repetition, the use of heavy colours and the many layers of colour settings, the paintings appear to be oil-absorbing but not lustrous, and are very calm, with a medal and stone flavour with colour..." Influenced by Cézanne, Wu Guanzhong strives for rigour in his compositions, and through the combination of colours, Wu pursues and highlights the formal beauty of the subject he depicts. The painting Warm Spring in the Mountain Village presents a progressive landscape with trees, houses and mountains.

The composition and format of the painting are a mixture of reality and imagination, and the brushwork is vigorous and full of charm, presenting the simple, tranquil beauty of a northern village in early spring, with green hills visible in the distance and smoke swirling in the near distance.

The colour graduation of the mountains are subtly rendered in dozens of brushstrokes, the mountain's distance, height, brightness, darkness and prosperity are presented using different shades of green, yellow and brown colours, to bring out the "warmth of spring" as it approaches.

The woods in the foreground reveal the subtlety of Wu Guanzhong's layout, the result of his diligent sketching and refinement of the landscape. Wu Guanzhong says, "I would first travel around, think about it, make up a picture in a small book or in my head, and even sketch it with my hands before I start painting. Sometimes I sketched at different locations till I feel ready." The way Wu Guanzhong describes his approach to sketching is as "choose iron while selecting ore in the mountains". This row of more than 30 trees stretches across the canvas, but through the green hills in the distance and the tiled houses in front of the hills, the different layers of space are used to build a tightly structured rural scene that does not appear crowded at

all, demonstrating the mastery of point, line, surface and colour palette of the artist.

To the right of the centre of the painting is a tree that seems unique. Its twists and turns brings a sense of movement and life to the landscape. The 'tree in crab claw shape', typical of ancient Chinese calligraphy and painting, provides inspiration for the vibrant trees in Wu Guanzhong's Warm Spring in the Mountain Village, and is the perfect finishing touch. By placing this row of trees in the foreground, Wu shifts the focus of the viewer's vision with the green hills behind. The focus of sight between the piedmont farmhouses leads us through the trees and branches, into the hills, into the farmhouses, into the swirling smoke of the cooking fires, saw the hanging ropes of clothes and the village people dressed in red and green. The characteristics of Chinese painting and calligraphy, which can be viewed, travelled and featured, are reproduced in Wu Guanzhong's oil paintings.

The red and green clothes worn by the three villagers in the Warm Spring in the Mountain Village are the sweetest and most beautiful reminder of his hometown. During the Second Sino-Japanese War, Wu moved to Sichuan with the teachers and students of the Hangzhou National College of Art, and when he saw the characters in the Peking Opera wearing red robes and the many young kids in Sichuan wearing red clothes, his deep-seated homesickness emerged. "In Sichuan, I borrowed money from classmates and bought a big red piece of fabric and told the tailor that 'in Xiajiang area (Jiangsu and Zhejiang provinces), men wear red and women wear green. Feel free to use the red cloth. Later he did as I asked". When Wu later arrived at the school canteen in a big red robe, "Wow, the room was filled with applause, because we were all artists", Wu Guanzhong recalled the experience with heartily laughter in an interview.

Born in Yixing County in Jiangsu province, Wu Guanzhong was full of passion and love for his homeland and his motherland. After the victory against the Japanese invasion, he was one of the two art students admitted to study in Paris at public expense. In 1947 he went to Paris to study and decided to return motherland 3 years later. In a letter to his teacher Wu Dayu, he wrote: "The study of art lies not in Europe, not in Paris, not in the studios of the masters, but in the motherland, in the homeland, at home, in one's own heart". In 1950, when Wu Guanzhong was thirty-one years old, these words in his letter were a foretaste of the extraordinary life he would lead, a master of his generation who truly created for the sake of his homeland and art. The painting Warm Spring in the Mountain Village marks the maturity of his original painting language and demonstrates his strong love for his homeland, which is incorporated into the painting, making it one of his most representative works.

馬遠 《華燈侍宴圖》 宋代 台灣 台北 國立故宮博物院藏 Ma Yuan, Banquet by Lantern Light , Song dynasty, Collection of the National Palace Museum, Taipei, Taiwan

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127

〇

18 WU GUANZHONG 吳冠中 CHINESE, 1919-2010

Warm Spring in the Mountain Village Painted in 1976 oil on board 46 x 61 cm. (18 x 24 in.) signed in Chinese; dated '76' (lower left); inscribed, signed and dated in Chinese (on the reverse) PROVENANCE

Sotheby's Hong Kong, 24 October 2005, Lot 789 Acquired from the above sale by the present owner EXHIBITED

China, Hong Kong, Hong Kong Convention and Exhibition Centre, Spirit of the East: Paintings by Wu Guanzhong, 18-22 November, 1993.

LITERATURE

Spirit of the East by Wu Guanzhong, L’Atelier Production Pte Ltd., Singapore, 1993 (illustrated, p. 15).

Wu Guanzhong-A Selection of 128 Fine Works, L’Atelier Production Pte Ltd., Singapore, 1996 (illustrated, plate 38, p. 87).

About Wu Guanzhong (Selection of articles about Wu Guanzhong), Guangxi Fine Arts Piblishing House, Nanning, China, 1999 (illustrated, p. 139).

Wu Guanzhong-Connoisseur’s Choice I, People Fine Arts Publishing House, Beijing, China, 2003 (illustrated, plate 27, pp. 78-79).

The Landscape of Life Vol. I: Wu Guanzhong Album in Art, Joint Publishing Ltd., Beijing, China, 2003 (illustrated, p. 131).

The Complete Works of Wu Guanzhong Vol. III, Hunan Fine Arts Publishing House, Changsha, China, 2007 (illustrated, p. 56).

Wu Guanzhong’s Paintings-Volume 2, Jiangxi Fine Arts Publishing House, Nanchang, China, 2008 (illustrated, p.

302).

Watching the Sunrise-The World in Teacher Wu Guanzhong’s 66 Letters, China Architecture and Building Press, Beijing, China, 2011 (illustrated, plate 105, p. 106).

HK$ 16,000,000 - 24,000,000 US$ 2,051,300 - 3,076,900 128

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山村春暖 1976 年作 油彩 木板 款識：荼 76（左下）；龍鬚島社員之家 吳冠中 一九七六年（畫背） 來源

蘇富比 香港 2005年10月24日 編號 789 現藏者購自上述拍賣 展覽

1993年11月18-22日「東方情思 吳冠中畫集」香港展覽 中心 香港 中國 出版

《吳冠中畫集—東方情思》藝達作坊 新加坡 1993年 （圖版，第15頁） 《吳冠中精品選集》藝達作坊 新加坡 1996年（圖版， 第38圖，第87頁） 《論吳冠中—吳冠中研究文選》廣西美術出版社 南寧 中國 1999年（圖版，第139頁） 《吳冠中作品收藏集I》人民美術出版社 北京 中國 2003年（圖版， 第27圖，第78-79頁） 《生命中的風景—吳冠中藝術專集I》三聯書店 北京 中 國 2003年（圖版，第131頁） 《吳冠中全集—第三卷》湖南美術出版社 長沙 中國 2007年（圖版，第56頁） 《吳冠中畫集—下卷》江西美術出版社 南昌 中國 2008 年（圖版，第302頁） 《看日出—吳冠中老師66封信中的世界》中國建築工 業出版社 北京 中國 2011年（圖版，第105圖，第106 頁）

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PROPERTY FROM AN IMPORTANT ASIAN PRIVATE COLLECTION

亞洲重要私人收藏

〇

19 ZAO WOU-KI 趙無極

CHINESE-FRENCH, ZHAO WUJI, 1920-2013

23.6.66

23.6.66

Painted in 1966 oil on canvas 81 x 65 cm. (32 x 25 1/2 in.) signed in Chinese; signed 'ZAO' (lower right); signed, titled and inscribed 'ZAO WOU-KI 23.6.66. ne vernis pas (on the reverse)

1966 年作 油彩 畫布 款識：無極ZAO（右下）；ZAO WOU-KI 23.6.66. ne vernis pas（畫背）

PROVENANCE

Galerie de France, Paris, France Private Collection, Paris, France Private Collection, Asia Christie's Hong Kong, 24 May 2014, Lot 8 Acquired from the above sale by the present owner EXHIBITED

France, Paris, Galerie de France, Zao Wou-Ki oeuvres récentes, 1967.

This work will be referenced in the archive of the Fondation Zao Wou-Ki and will be included in the artist's forthcoming catalogue raisonné prepared by Françoise Marquet and Yann Hendgen. (Information provided by Fondation Zao Wou-Ki.)

HK$ 10,000,000 - 15,000,000 US$ 1,282,100 - 1,923,100 130

POLY AUCTION HONG KONG

來源

法國 巴黎 法蘭西畫廊 法國 巴黎 私人收藏 亞洲 私人收藏 佳士得 香港 2014年5月24日 編號8 現藏者購自上述拍賣 展覽

1967年「趙無極近作」法蘭西畫廊 巴黎 法國 此作品將會登記在趙無極基金會文獻庫，並將收錄於弗 朗索瓦·馬凱及揚·亨德根正籌備編纂的《趙無極作品 編年集》。（資料由趙無極基金會提供。）

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ZAO WOU-KI 趙無極

空間、動勢、氣韻、光影 自1948年移居法國，趙無極一直都在反覆追尋一 種現代感的表現形式，在遊歷歐洲各國和大大小 小的美術館之後，於1950年代初開始探索一種嶄 新的抽象表現風格。從最初以風景和建築為靈感 的「克利時期」著重探索繪畫中的色調的孕育和 空間佈局，到50年代中期，趙無極開始將符號與 書法的形態融入繪畫，類似戰國時期青銅器上的 金文鳥蟲書，直到50年代末期演變出了一種以濃 稠的油彩皴擦、具有開闊筆勢的線條形式，盪氣 迴腸的蜿蜒線條如同中國草書，展現富有氣勢的 韻律美感和強烈的情緒感染力。歷經對現代主義 十年的探索，這一時期的趙無極廣泛汲取中國傳 統山水畫所蘊藏的超然境界，以草書中點、撇、 按、挪等筆，輔以發揮油彩堆疊和肌理的特性來 表現峰巒疊嶂、雲蒸霞蔚、明媚幽晦等抽象的意 境，形成了整體上氣勢恢宏，但細節處飄逸悠遠 的意境。 《23.6.66》(Lot 19) 延續其60年代典型的縱向 構圖三段式空間分割，疾走的筆勢集中在畫面中 段，其筆道如「運筆迅速，如驟雨旋風，飛動圓 轉，隨手萬變，而法度具備」的懷素；其意境蒼 茫悠遠如石濤的山水所倡導的「法自我立」，以 自然為關照，進而帶來千變萬化的構圖，既疏秀 明潔又酣暢淋漓。當視線隨著遒勁舒展的筆觸向 畫面之外延伸，線條的交錯躍動帶動周遭色彩精 微的變化，擷取其精蘊，再聚焦細節則蘊涵著氣 象萬千的精微景觀，在宏觀與精微之處的不同的 情境塑造上也體現了趙無極對中國傳統美學對立 卻統一的空間審美觀念—既追求全景式的無限江 山，也追求局部單景的微觀直照。而在西方現代 主義的表現技法上，趙無極不僅利用油彩控制出 的肌理與飛白為濃重有力的線條帶來了輕盈飄逸 之感，牽動著情緒的千迴百轉，且在筆勢之外， 藝術家以抒情的藍色和沉靜的褐色創造不同層次

陳容《雲龍圖》（局部）南宋 中國 廣州 廣東省博物館藏 Chen Rong, Cloud Dragon (detail), Southern Song, Collection of the Guangdong Museum, Guangzhou, China

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的空間感，與線條的流動共同塑造一種表現上的 潛能—讓人聯想到微風輕拂平靜的湖面泛起的漣 漪，或是雨過天晴後的空靈平靜，帶有一種抒情 詩般的娓娓道來。如同趙無極認為的「繪畫反映 了他所經歷的一切」，在1960年代晚期，他的 妻子陳美琴的身體每況愈下，對於至愛的病痛他 卻束手無策，因此這一時期的作品蘊藏藝術家飽 滿的私人情緒。《23.6.66》甚為罕見的色彩承 載了趙無極對妻子的憐惜和對平靜生活的希望， 輕柔淡雅的用色和書法般雷霆萬鈞的筆觸形成了 「虛」與「實」、「輕」與「重」的對比，不僅

1.

擁有趙無極作品中獨有的雄渾氣度和文人神魄， 同時承載他對至愛的深情和對生命的思考，呈現 了一種直擊靈魂的抒情之美。 趙無極在1971-72期間的油畫創作相對稀有，這 一時期的他以傳統水墨的處理方式來控制油彩， 以加入松節油的方式使油彩變得更為輕靈延展， 達到在畫布上創造出更空靈和氤氳的虛空氛圍的 目的。《6.11.72》(Lot 20) 畫面疏淡留白，以藝 術家極其簡單的用色加以強調筆觸的動勢來探索 山水實景中抽象的風雲氣韻的表達，他以褐色流 動性的大筆觸來模擬洶湧的風雲態勢，以沿襲自 「狂草」時期的書法般揮灑感的線條來演繹遠處 的群山，以暈染的白色環繞在有力的剛性線條的 周圍，形成明暗對比並實現剛柔並濟的視覺張 力，如遠方群山籠罩在雲霧之下，柔和的日光從 霧氣之中滲透出來，慢慢將光彩湧現，令觀者彷 彿置身於茫茫太虛，感受能量由初始噴薄而出。 《6.11.72》是趙無極在70年代初期超脫於山水的 具象表達，從而更深入表現潛藏於山水之中的抽 象的空間、動勢、氣韻、光影的嘗試。他通過對

2.

1. 約瑟夫．瑪羅德．威廉．透納《暴風雪—汽船駛離港口》 1842年作 英國 倫敦 泰特美術館藏 J.M.W. Turner, Snow Storm Steam-Boat off a Harbour's Mouth , 1842, Collection of The Tate Gallery, London, UK 2. 趙無極與陳美琴 Zao Wou-Ki and May Zao

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純粹的單色和大面積留白的運用充分表現了中國 文化中的空靈感，同時又呈現出一種中國哲學中 「天人合一」的精神空間，他以自我心象為參照 塑造出一個完全抽象的形式世界，為觀者留出巨 大的自由想像空間。

趙無極從1950年代開始便不斷將東西方美學觀念 融會貫通，以西方的表現形式闡述中國人的文化 觀點，反映中國文人的精神境界，如他在1962年 接受法國雜誌《Preuves》訪問時解釋：「巴黎 無疑對我的藝術磨練影響深遠，但我亦逐漸重新 認識中國。矛盾的是，全靠巴黎我才會回歸最深 刻的本源。」，在其由「克利」、「甲骨文」至 「狂草」的遞進嬗變中，趙無極從精緻佈局的空 間呈現到在有限尺幅之上投射出山川萬里無垠， 進而呈現出深遠無限的空間感和超脫悠遠的意 境，在油彩的運用上，一方面使用中國書畫「墨 分五色」的理念，取其濃淡枯潤、暈染化散的變 化層次，而另一方面使用油彩更加靈活的色彩獨 特的透亮質感，使得油彩的筆觸與肌理疏密有 致，與背景的色彩交相輝映，如同光線的深潛和 躍升，使畫面氣韻流動，既填補了中國傳統山水

我常在心裡揣摩的是：如何

畫風？怎麼表現空白？ 表 現 光的明朗、純淨？我 不 想 表 現自然，而是將形象 並 列、

組合，使人能在其中看到寂 靜水面空氣的盪漾。

──趙無極

畫所欠缺的光影效果，也使油彩更加輕靈氤氳， 為東西方美學表達架起橋梁，更在藝術史上成為 一種獨一無二的視覺語言。

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ZAO WOU-KI

SPACE, MOVEMENT, RHYTHM, LIGHT, AND SHADOW Since moving to France in 1948, Zao Wou-Ki has been constantly searching for a modern form of expression. After travelling through European countries and large and small galleries along the way, he began to explore a new style of abstract expression in the early 1950s. Starting from the 'Klee Period', which was initially inspired by landscapes and architecture, Zao Wou-Ki began to explore the cultivation of colour and spatial layout in his paintings. In the mid-1950s he began to incorporate symbols and calligraphic forms into his paintings, similar to the inscriptions on bronzes of the Warring States period. It was not until the late 1950s, that a line form with thick oil paint and board brushstrokes evolved to reveal the texture of mountains and rocks. The winding lines were like Chinese cursive script, showing the imposing rhythmic beauty and strong emotional appeal.

After a decade of exploration into modernism, Zao Wou-Ki drew extensively from the transcendent realm of traditional Chinese landscape painting, using cursive brushstrokes such as dotting, skimming, pressing, and moving. In addition, the stacking and texture of oil paints were used to express the peaks and mountains. The abstract artistic conceptions such as stacking peaks, clouds steaming and clouds, bright and secluded, and so on, form an overall grand and elegant conception, but the details are elegant and distant.

23.6.66 (Lot 19) is a continuation of his typical vertical composition of the 1960s with its three-stage spatial divisions, where the brisk strokes are concentrated in the middle section of the painting. The brushwork of which is like that of Huaisu, who "moves swiftly, like a sudden rain and a whirlwind, flying and turning in a circular manner, changing at will, but with the law in place". The mood is as boundless and remote as the 'self-reliance' advocated by Shi Tao's landscapes, which take nature as their focus and brings a variety of compositions that are both sparse and clean, as well as being fluid. As the view extends beyond the painting with the powerful and spacious brushstrokes, the interplay of lines brings about subtle changes in the surrounding colours, capturing their essence and then focusing on the details to embody the subtleties of the landscape. Zao Wou-Ki's contrasting but unified conception of space in traditional Chinese aesthetics is also reflected

- the pursuit of both panoramic views of infinite rivers and mountains and the microscopic direct illumination of a partial single scene. With the application of Western Modernism techniques, Zao Wou-Ki not only uses the controlled texture of oil paint and the blank (white space) to bring a sense of lightness and fluidity to the heavy, powerful lines, which evoke a wide range of emotions, but beyond the brushwork. The artist uses lyrical blues and solid browns to create different levels of spatiality, which together with the flow of the lines create a sense of expressive potential that evokes the rippling of a quiet lake in the breeze, or the ethereal calmness of a clear sky after a rainfall, with a lyrical narrative. As Zao Wou-Ki believes, 'his paintings reflect what he has experienced'. His wife May Zao's health deteriorated in the late 1960s, and he was unable to do anything about his beloved's illness, so his works from this period are filled the sorrow and pain.

The very rare colours of 23.6.66 embody Zao Wou-Ki's pity for his wife and his hope for a quiet life, in which the soft and elegant colours and the thunderous brushwork of calligraphy form a contrast between 'emptiness' and 'solidity', 'lightness' and 'heaviness', which not only possess the majesty and literati spirit unique to his art works, but also carry his deep love for his beloved wife and his thoughts on life, presenting a lyrical beauty that strikes to the soul.

Zao Wou-Ki's oil paintings from 1971-72 are relatively rare.

During this period, he used the traditional ink painting techniques to control the oil paints, adding turpentine to make the oil more flexible, in order to create a more ethereal and elusive atmosphere on the canvas. In 6.11.72 (Lot 20), the artist's extremely simple colour palette and emphasis on the movement of the brushstrokes are used to explore the abstract expression of the wind and clouds in the landscape scene together with large areas of white space. He uses heavy, flowing brown brushstrokes to simulate the stormy weather and clouds, and uses lines that follow the calligraphic style of the Hurricane period to depict the distant mountains. He creates a contrast of light and dark and achieves a visual tension of both strength and flexibility by using blurred white to surround the strong, rigid lines, as if the distant hills are shrouded in clouds, with

米芾《春山瑞松圖》北宋 台灣 台北 國立故宮 博物院藏 Mi Fu, Mountains and Pines in Spring , Northern Song, Collection of the National Palace Museum, Taipei, Taiwan

Lot 20

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I often elicit in my mind: How do you paint the wind? How do you present emptiness? How do you present the brightness and purity of light? I do not want to present nature but let people see undulations of air on the calm water surface, by juxtaposing and combining images.

- ZAO WOU-KI

tender daylight seeping through the mist, slowly bringing out the glory, making the viewer feel as if they were in the vast emptiness, feeling the energy emanating from the beginning. 6.11.72 is an attempt by Zao Wou-Ki in the early 1970s to move beyond the figurative expression of landscape to a deeper expression of the abstract space, movement, rhythm, light and shadow that lie within it.

Through the use of pure monochrome and large areas of white space, he fully expresses the sense of emptiness in Chinese culture, while at the same time presenting a spiritual space of 'unity of heaven and man' in Chinese philosophy. With his own mental image as a reference, he shapes a completely abstract formal world, leaving the viewer with a great deal of freedom of imagination.

Since the 1950s, Zao Wou-Ki has been blending Eastern and Western aesthetic concepts, using Western forms of expression to articulate Chinese cultural perspectives and reflect the spiritual realm of Chinese literati. As he explained in an interview with the French magazine Preuves in 1962, 'Paris has undoubtedly had a profound influence on my artistic training, but I have also gradually reacquainted myself with China. Paradoxically, it was only through Paris that I returned to my deepest roots." In his progressive transmutation from Klee, Oracle Bone and Hurricane, Zao Wou-Ki moves from the delicate layout of space to the projection of the boundlessness of the mountains and rivers on a limited scale, thus presenting a sense of profound and infinite space and a transcendent and distant mood. In the use of oil paint, the concept of "different colours in ink" in Chinese painting and calligraphy is used on the one hand, taking into account the variations of shades, blurring and dispersion. On the other hand, the unique translucent texture of oil paint makes the

138

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brushwork and texture of the oil paint more flexible, so that the brushstrokes and texture of the oil paint are sparse and dense, reflecting with the colours of the background, just like the deep dive and jump of the light, making the painting flowing, not only filling the lack of light and shadow effects in traditional Chinese landscape painting, but also making the oil paint more light and airy, bridging the gap between Eastern and Western aesthetic expression, and forming a unique visual language in art history.

張旭《肚痛帖》唐代 明代重刻原石 中國 西安 碑林博物館藏 Zhang Xu, Letter about a Stomachache (Du tong tie ), Tang dynasty, re-engraved in Ming dynasty, Collection of the Forest of Steles, Xi'an, China

PROPERTY FROM AN IMPORTANT ASIAN PRIVATE COLLECTION

亞洲重要私人收藏

〇

20 ZAO WOU-KI 趙無極

CHINESE-FRENCH, ZHAO WUJI, 1920-2013

6.11.72

6.11.72

Painted in 1972 oil on canvas 95 x 105 cm. (37 1/2 x 41 1/4 in.) signed in Chinese; signed 'ZAO' (lower right); signed, titled and inscribed 'ZAO WOU-KI 6.11.72. 95 x 105' (on the reverse)

1972 年作 油彩 畫布 款識：無極ZAO（右下）；ZAO WOU-KI 6.11.72. 95 x 105（畫背）

PROVENANCE

Gift from the artist to Bernard and Geneviève Anthonioz in 1972-1973 Private Collection, France (Acquired from family descent) Christie's Hong Kong, 24 May 2014, Lot 10 Acquired from the above sale by the present owner LITERATURE

Zao Wou-Ki, Hier et Demain Editions, Paris, France; & Ediciones Polígrafa, Barcelona, Spain, 1978 (illustrated, plate 412, p. 299).

Zao Wou-Ki, Rizzoli International Publications, New York, USA, 1979 (illustrated, plate 412, p. 299).

Zao Wou-Ki, Editions Cercle d'Art, Paris, France; & Ediciones Poligrafa, Barcelona, Spain, 1986 (illustrated, plate 444, p.

339).

This work is to be sold with a certificate of authenticity issued by Fondation Zao Wou-Ki, Geneva, Switzerland.

HK$ 8,000,000 - 12,000,000 US$ 1,025,600 - 1,538,500 140

POLY AUCTION HONG KONG

來源

藝術家於1972-1973年贈予伯納及關妮薇．安東尼奧茲 夫婦 法國 私人收藏（得自家族遺產） 佳士得 香港 2014年5月24日 編號10 現藏者購自上述拍賣 出版

《趙無極》Hier et Demain Editions 巴黎 法國；及 Ediciones Polígrafa 巴塞隆納 西班牙 1978年（圖版， 第412圖，第299頁) 《趙無極》Rizzoli 紐約 美國 1979年（圖版，第412 圖，第299頁) 《趙無極》Cercle d'Art 巴黎 法國 ；及Ediciones Poligrafa 巴塞隆納 西班牙 1986年（圖版，第444圖， 第339頁) 附瑞士 日內瓦 趙無極基金會開立之原作保證書

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PANG JIUN 龎均

金秋季節

沒 有 畫 什 麼 特 別 的 東 西， 只 是 畫 自 己 的

『心』，對任何平淡事物的感覺，不是由『形 式』決定的，而是由感覺與情緒決定。

──龎均

龎均作為獨樹一幟的「東方寫意性油畫」開創者，在西方油

顏色。他在繪畫裡已經去除了傳統繪畫光影的作用，不再以

畫基礎上完美地融入了東方傳統繪畫的意境。之所以鍾愛於

黑白深淺的對比來表現空間及立體感，而是單純的專注色彩

油畫媒材，是他認為油畫顏料的豐富度勝過所有的媒材，亦

和色彩的豐富度。龎均說：「我覺得要把顏色畫得最好的時

可堆積且可厚可薄，就如同中國繪畫裡的寫意。他生長於充

候，就不要有影子的存在。」他以色彩本身具有的冷暖性質

滿文人的時代，亦受跨時代的影響，在觀念上有著開放創新

去創造空間和立體的效果。龎均創作從來不預設結果，而是

的思維，但仍保有傳統繪畫基礎的堅持。不畏懼當時人們對

享受繪畫的過程，當他每畫一部分時都會影響旁邊空白部分

於東方油畫的不看好，堅持不斷的創作具有東方色彩的油畫

的發展，在當下隨著靈感的變化而出現，這也成為了他在創

作品。他廣為人知的風景畫是經由大量長時間的寫生經驗，

作中不斷突破自我的重要關鍵。

和自身對其顏色的敏銳度所成就的，他認為寫生是一個永久 的題材，因為真實體驗是最為深刻的，他的風景畫源於記憶 中的那些深刻體驗，將腦海中的畫面重組創作，創作出屬於 他個人的獨特且具有魅力的風景。 中國北京的香山以紅葉聞名，在深秋時是最極為壯觀的時 刻，藝術家們都會前往香山寫生，以香山為題材創作的大師 就有劉海粟、吳冠中等人。通常畫香山的紅葉有兩種角度， 一種是遠看香山，另一種角度則是近畫楓葉。近畫楓葉需要 鑽到楓葉林裡頭，在茂密的林間作畫。《金秋季節》(Lot 21) 的原稿就是龎均在楓葉林中的寫生，他回憶寫生時還碰到了 劉海粟，與其一同討論分享各自的畫作。 在《金秋季節》中，首先映入眼簾的是大面積的紅葉，畫面 中的紅葉是由兩種不同的紅色組合而成，以大紅色的朱紅加 上深色偏冷色調的玫瑰紅，但是單單使用兩種紅並不能引發 顏色的豐富度，所以龎均在紅色中加入相對應的綠色。調和 綠色屬於較困難的技巧，在顏料調和中將兩個對比的顏色調 得太均勻會降低色彩豐富度使得失去層次。因此在這件作品 上，龎均使用厚塗與顏料相碰的方式，再以不同筆法在畫布 上做輕微的調和，使得紅色時而偏綠時而偏向黃，完美地增 加了紅色的層次與豐富度。在畫面的下方則是落葉與地面， 以對比的綠色和較為穩重的土黃、藍與紫呈現出空間感。仔 細的欣賞這件作品，遠看是一片具有張力的紅色系，細看時 就會發現色彩細微的變化。 對龎均而言，題材一直都不是最重要的也不是唯一的目的。 不一定是用寫實的方法或以具體的方式去描繪楓樹的姿態或

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PANG JIUN PANG JIUN

GOLDEN AUTUMN Pang Jiun once said, "I don't paint anything special, just my own 'heart', and my feeling of any commonly seen thing is not determined by the 'form' but by feeling and emotion".

As the creator of the unique 'Oriental Freehand Brushwork Oil Paintings', Pang Jiun has perfectly integrated the atmosphere of traditional Chinese painting into the basis of Western oil paintings. The reason for his love of the medium is that he believes that oil paint is richer in possibilities than any other medium, as it can be piled up or thinned, just as the 'Freehand Brushwork' in Chinese painting. Growing up in an era full of literati, he was influenced by the cross-generational trend and was conceptually open to innovation, but still maintained his insistence on the foundations of traditional painting. He was not afraid of the negative perception of oriental oil painting at the time and insisted on creating oil paintings with an oriental flavour. His widely known landscapes are the result of extensive and lengthy sketching experience and his own sensitivity to colour. He believes that sketching is a permanent subject, as real experiences are the most profound. His landscapes originate from those profound experiences in his memory, and he reorganises the images in his mind to create his own unique and charming landscapes.

The Fragrant Hills in Beijing are famous for their red autumnal leaves, which are at its most spectacular state during late autumn. They have attracted many renowned artists, including Liu Haisu and Wu Guanzhong, who have used them as their subject matter. There are two angles from which to paint the red leaves of the mountain, one is from a distance and the other is from close up. To paint those red leaves from a close distance, one needs to go into the maple forest and paint in the dense woods. The original manuscript of Golden Autumn (Lot 21) is paint from nature by Pang Jiun in a maple forest. He recalls meeting Liu Haisu while sketching, and discussing and sharing the paintings with each other.

李可染《萬山紅遍》1963年作 中國 北京 中國美術館藏 Li Keran, All the Mountains Blanketed in Red , 1963, Collection of the National Art Museum of China, Beijing, China

In Golden Autumn, the first thing that strikes the eye is the large area of red leaves. The red leaves are composed of two different reds.

However, the use of reds alone does not induce enough colour richness, so Pang Jiun adds a corresponding green to contrast the red. Blending green is a difficult technique, as blending the two contrasting colours too evenly can reduce the richness of the colour and may potentially allow the work to lose its layers. Therefore, the artist masterfully applies the green and red colours thickly to from the contrast, they are then slightly blended on the canvas with different brush strokes, making the red sometimes appear green and sometimes appears yellow. With this application, it perfectly added layers and richness to the red. At the bottom of the painting are the fallen leaves and the ground, with contrasting greens and more stable earthy yellows, blues and purples to create a sense of space. A glimpse at this work reveals a tense red colour palette from a distance, but a closer look reveals subtle variations in colour.

To the artist, the subject matter has never been the most important or the only objective. In the depiction of autumn leaves, it is not necessarily to adopt a realistic approach or a specific way of depicting the posture or colour of a maple tree. He has removed the role of light and shade from traditional painting in this painting, and no longer uses the contrast between black and white and shades of colour to express the sense of space and form, but simply focuses on colour and the richness of colour. "I think that in order to paint the best colours, there should be no shadows," says Pang Jiun. He uses the warm and cold nature of colours to create space and three-dimensional effects. He never creates with a predetermined goal in mind, but rather immerses and enjoys the process of painting. Each time he paints a part of his work, it affects the development of the blank part next to it, which emerges in the moment with the change of inspiration. This has been the key to his breakthrough in creativity.

21 PANG JIUN 龎均

CHINESE, PANG JUN, B. 1936

Golden Autumn

金秋季節

Painted in 2021 oil on canvas 201 x 250.5 cm. (79 x 98 1/2 in.) signed in Chinese; dated '2021' (lower right) one painted seal of the artist

2021 年作 油彩 畫布 款識：龎均 2021（右下） 藝術家手繪鈐印：均

PROVENANCE

Private Collection, Asia

HK$ 1,500,000 - 2,500,000 US$ 192,300 - 320,500 144

POLY AUCTION HONG KONG

來源

亞洲 私人收藏

MODERN AND CONTEMPORARY ART

145

CHU TEH-CHUN 朱德群

江山千里望無垠

1997年朱德群受法國權威藝術機構的肯定，成為 法蘭西藝術院終身院士，為200年以來首位進入此 法國最高學術殿堂的華裔人士，象徵過去六十餘 年來在藝術領域上的辛勤耕耘開花結果。創作於 次年的《靈性的光輝》(Lot 22) 有別於過去山谷間 蓄勢待發的爆發，此刻他充滿自信，對畫面的掌 握游刃有餘，自在的線條與明亮線條，更像是鋪 劃一片江山千里望無垠的康莊大道。 擁有深厚書法功底的朱德群，將書寫線條視為他 創作的特徵之一，隱含著東方書法筆墨裡的抑 揚、頓挫的線條。《靈性的光輝》為了展示流動 的音樂性，瀟灑自如的筆刷揮寫出網狀、線狀的 運動感和節奏感，畫面中有大筆揮灑的速度，挾

朱德群 146

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CHU TEH-CHUN

帶細筆的精妙的轉折，交織「大弦嘈嘈似急雨，

圖，反映朱德群受大自然啟發的山水情懷，寄託

小弦切切似私語」樂曲般的行雲流水的節奏，使

內心寫照的投射。通過審美主體與客體的交融，

畫面流瀉從容不迫，駕輕就熟的靈動與音樂性。

承襲石濤強調從自我主觀真實感受出發，運用藝 術家情感反射，通過創作，不斷反芻自身母體文

青綠為質，金碧為紋

化，再借用西方的現代語彙與媒材的導引，從書

1990年朱德群搬進了由建築師多明尼克．費侯

法用筆、傳統山水精神至音樂性空間中注入充盈

為他設計的工作室，明亮且寬敞的空間，改變繪

的東方精神，不單開創了抽象表現主義截然不同

畫光線的來源，進而影響他對色彩的布局。秉棄

的路向，更對傳統美學精神的重新詮釋與發揚。

聚焦式的投射光束，以全面積的自然光，跳脫過 去局部光源囿限畫面整體色彩的技巧，展現天光 明亮場景。《靈性的光輝》上半部在半透明顏料 的交疊之下，一叢叢銘黃色妝點天際，彷彿幻化 出天地間祥雲瑞氣。而下半部僅運用靛藍與翠綠 寶石交織，色彩或渾厚，或輕盈，其間以赭色襯 托，打造如同《千里江山圖》的青綠色調下，斑 斕且富麗堂皇的用色，如同吳冠中所形容：「朱 德群常用墨綠、朱紅、明黃、深藍等濃重的色彩 營造畫面，追求黃鍾大呂演奏之宏亮效果。王希 孟千里江山圖的金碧輝煌，在他的油彩中被濃 縮，被發揚。被他譯成了現代造型語言，與西方

張大千《千里江山圖》1947年作 蘇富比 香港 2022年3月30日 成交價：370,495,000港幣 Zhang Daqian, Landscape after Wang Ximeng , 1947, Sotheby's Hong Kong, 30 March 2022, Sold for HKD 370,495,000

現代藝術相對照和比美。」鮮明的色彩與開闊構

「我繪畫的靈感泉源是完全從自然而來的，我所畫的，是 我對大自然的感覺，也是大自然賦予我的感覺，更徹底地 說，是自然與我靈性的結合。」

MODERN AND CONTEMPORARY ART

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A GAZE INTO THE VASTNESS OF RIVERS AND MOUNTAINS In 1997, Chu Teh-Chun received the recognition of authoritative French art institution by becoming a lifetime member of the Académie des Beaux-Arts and the first ethnically-Chinese person to join in 200 years, symbolizing more than 60 years of diligence in the realm of the arts coming into full bloom. Unlike the works of the past, which always gives an impression that the valley is ready to go but yet to explode, Clarté Immatérielle (Lot 22), created in the following year, is a moment brimming with self-confidence.

Painted with skill and ease with free and bright lines. It is more like paving a flat and smooth road with endless rivers and mountains.

With a profound level of skill in calligraphy, Chu Teh-Chun considers the contours of the written word to be one of his most unique characteristics as he embodies the cadence and transition of Eastern calligraphy ink and brush implicit in his work. In order to reveal a musical flow, the relaxed and unconstrained brushwork of Clarté Immatérielle has the feel and tempo of cross-hatching written out. In this painting, the brushstrokes are filled with speed along with delicate turnings by small brushstrokes. Each brushstroke looks as if it's interweaving with the rhythm of the music "like a downpour, the bass strings create a tumult, like a whisper, the treble strings tremble." The scene created by the artist feels calm; filled with flexibility and full of musicality.

TURQUOISE AS TEXTURE, GOLD-JADE AS PATTERN In 1990, Chu moved into a studio built for him by architect Dominique Ferro. The bright and spacious room influenced the way the artist perceived light and composition of colours. He abandoned the method to focus light source on a single area. A chrome yellow horizon clusters in semitransparent layers on the upper half of Clarté Immatérielle as if the space between heaven and earth were transformed

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by a magic cloud of propitious vapors. While the lower half of the present work is composed of indigo, along with a perfect mix of blue and green, interweaving with a colour.

The space between is set off by ochre, creating a lush tone akin to A Thousand Li of Rivers and Mountains, using tones as multicoloured and sumptuous as Wu Guanzhong's description: "Chu often uses forest green, vermillion, bright yellow, dark blue, and other deep, rich colours to construct his tableau, pursuing the grand effect of a solemn and sublime musical performance. Wang Ximeng's splendid landscape of A Thousand Li of Rivers and Mountains was condensed and carried forward in his oil paintings. The essence of traditional Chinese art was translated by him into Modern modeling language, contrast and beauty with Western modern art." The distinct colours and wide-open composition mirror the feelings that the natural world stirs within Chu Teh-Chun, a portrayal of his innermost being.

Through a blend of aesthetic subject and object, it sets off from Shi Tao's emphasis on the subjective reality of the self, putting to use the artist's emotional reflection. Through creation, through an incessant rumination on one's own mother culture, borrowing the guide of modern Western vocabulary and media. As well as the brush and spirit of the traditional mountain-and-river paintings and pouring an abundance of Eastern spirit into a space of musicality. Not only does Chu start in a completely different direction of abstract expressionism, he also develops and reinterprets the essence of traditional aesthetics.

王希孟 《千里江山圖》（局部）北宋 中國 北 京 故宮博物院藏 Wang Ximeng, A Thousand Li of River and Mountains (detail), Northern Song, Collection of The Palace Museum, Beijing, China

The source of my inspiration for painting comes entirely from nature. What I have painted are my feelings about the natural world as well as those that has bestowed upon me. A more complete way of saying it would be that this is the combination of the spirit of nature and my own spirit.

- Chu Teh-Chun

CLARTÉ IMMATÉRIELLE

22 CHU TEH-CHUN 朱德群 CHINESE, 1920-2014

Clarté Immatérielle

靈性的光輝

Painted in 1998 oil on canvas 60 x 119.5 cm. (23 1/2 x 47 in.) signed in Chinese; signed and dated 'CHU TEH-CHUN 98.' (lower right); titled, signed and dated '"Clarté IMMATERIELLE" CHU TEH-CHUN. 1998.'; signed in Chinese (on the reverse)

1998 年作 油彩 畫布 款識：朱德群 CHU TEH-CHUN 98.（右下）；"Clarté IMMATERIELLE" CHU TEH-CHUN. 朱德群 1998. （畫 背）

PROVENANCE

Ravenel Taipei, 5 December 2010, Lot 152 Acquired from the above sale by the present owner EXHIBITED

Taiwan, Taipei, Heritage Arts International Ltd, 1998 Chu Teh-Chun Solo Exhibition, 9-24 May, 1998.

The work is to be sold with a photograph signed by the artist and with a certificate of authenticity signed by the artist's wife, Chu Ching-Chao.

This work will be included in the artist's forthcoming catalogue raisonné on the work of Chu Teh-Chun, being prepared by Fondation Chu Teh-Chun.

HK$ 3,200,000 - 4,500,000 US$ 410,300 - 576,900 150

POLY AUCTION HONG KONG

來源

羅芙奧 台北 2010年12月5日 編號 152 現藏者購自上述拍賣 展覽

1998年5月9-24日「1998朱德群個展」傳家藝術國際股 份有限公司 台北 台灣 附藝術家親簽之照片及朱德群妻子董景昭女士所簽署之 保證書。此作將被收錄於朱德群基金會正籌備編纂的 《朱德群作品編年集》

MODERN AND CONTEMPORARY ART

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朱德群

寒雲欲雪

2016年朱德群以創作於1991-1999年《雪霏霏》打破當時 個人拍賣紀錄，並躍升為千萬美金的藝術家。從此藏家們對 90年代的蘊藏大自然豐沛能量創作關注度大為提升。創作於 1991年《微妙的積雲》(Lot 23)，便是同一時期的創作，宏大 的尺幅，銀灰色的背景彷彿重現瑞士阿爾卑斯山暴風雪的觸 動。輕盈流動的顏料特性，將片片的雪花幻化為透明的白光 籠罩了厚實的潑色基底，畫面在忽隱忽現之間暈染，塑造明 亮而天地遼闊之意象。

寒雲欲雪 1980年代，朱德群途經阿爾卑斯山的火車，窗外白雪皚皚的 壯闊場景，使之激動不已，從此雪山的形象深埋心中，開始 創作「雪景」系列。創作於1991年的《微妙的積雲》此時滿 天紛落白雪已經幻化為一片透明的白光，將可視的風景內化 為的回憶，達到「求其氣韻，出於物表」不為物限的創作思 維，在他的視覺經驗有了更超然與深刻的體悟，進而啟迪他 往後色彩層次與空間營造的革新。朱德群運用顏料輕盈流動 的特性，首先以深色背景鋪陳，施以銀灰色透明度高的顏色 交疊，靈動飄忽的雪氣將畫面籠罩，製造雲霧瀰漫半透明蒼 茫感，而最後明亮鮮豔的藤黃、天青、碧綠細小碎點如「瀑 布飛空，湍奔射石，噴玉濺玉，交相濺亂。」點綴其中。 《微妙的積雲》以深藍色作為畫面主體，表層覆蓋的寒氣， 形塑「寒雲欲雪」黎明即起的景緻。就如同他自己所說： 「西方畫家畫中的風景是對自然的模仿，而中國畫的山水則 與實景有一個距離，是一種符號，是一種更深的有形的自 然。畫家的語言已經不是眼睛之所見，而是將眼睛之所見， 再通過心靈的感受，然後再表達出來。」將記憶中的風景的 樣貌，幻化成一個燦爛且永恆的畫面。

微妙的積雲

「畫面中各種對比、補色、鄰近色自由組合，以薄與厚、清 與濃、滿與空的對比形成不同空間氣氛，以快速投射的光脈 衝造成流動的幻覺，如同高速攝影所擷取的時間片段，將無 垠的時間定格在一個永恆的瞬間，打破了時間的永恆態和空

CHU TEH-CHUN 間的有限性，從而造成連續不斷的夢境，直至時間的盡頭， 猶如交響樂中流淌的充沛詩意，既給迷幻的表像，更讓人感 覺到生命的歡悅。」 ──范迪安

光線：乍合乍離，或聚或散 1990年朱德群搬進了由建築師多明尼克．費侯為他設計的新 工作室，明亮且寬敞的工作室以不同的照明採光改變了朱德 群的畫面，他開始著重光線產生的的色彩，《微妙的積雲》 構圖中心隆起的錐型光感，將四周的濃郁色調向外推散，逐 漸向左右推開的光源，如同舞台的布幕緩緩打開，層層遞進 動態的光線相互交織而產生迷離變化，營造視覺深度與層次 的轉折，造成光舞律動之景，實現了郭熙《林泉高致》中所 描述的：「驕陽初蒸，晨光欲動，曉山如翠，曉煙交碧，乍

1.

合乍離，或聚或散，變態不定，飄搖繚繞於叢林溪谷之間， 曾莫知其涯際也。」動態變動的光線，創造時間的更迭流 轉，朱德群嘗試在平面的畫布中，創造非靜止的視覺經驗， 進而延伸至探討宇宙生生不息運行的道理，開啟了一個嶄新 的表現手法。

汝窯：天青色等煙雨 畫面頂端的青灰色深淺轉換，猶如跳耀的音符，小面積灰青 色的點染好似天邊透出雨過初霽，「雨過青天雲破處，這般 顏色作將來」似藍似綠之際的汝窯色澤。朱德群對應了大自 然景致的反射，畫面捨棄外在的真實形體，僅是對於其意象 的勾勒，經由自身的文化底蘊內化與焠鍊，結合自我主觀 經驗，延伸出未知的想像空間，使作品體現《老子》所言： 「惚兮恍兮，其中有像，惚兮恍兮，其中有物」中若有似無

2.

的形象構成。《微妙的積雲》朱德群不僅以種種光線的流 動、渲染與筆觸，創造出無窮的空間，更隱含了中國人對於 廣遠宇宙與精微生命的自然觀和哲學理念。

此時我心中只有雲霧在白地上移動的景象 以及湧現的層次，心靈似乎也跟著那深淺 濃淡的變動而若浮若沉，一下子浮現了很

1.《青瓷無紋水仙盆》北宋 台灣 台北 國立故宮博物院藏 Narcissus basin in bluish-green glaze , Northern Song, Collection of the National Palace Museum, Taipei, Taiwan 2. 張若澄《燕山八景圖冊》（局部）清代 中國 北京 故宮博物院藏 Zhang Ruocheng, Eight Sceneries of Yanshan (detail), Qing dynasty, Collection of The Palace Museum, Beijing, China

多唐詩的意象。回來就忍不住想作畫。

──朱德群 MODERN AND CONTEMPORARY ART

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CHU TEH-CHUN

CHU TEH-CHUN

COLD CLOUDS LUSTING FOR SNOW In 2016, Chu Teh-Chun broke his own auction record with Snowy Vertigo (1991-1999) and rose to become a multi-million dollar artist. Since then, collectors have taken a greater interest in his works created in the 1990s, which are rich in natural energy. Subtiles nuées (Lot 23), created in 1991, is a work from the same period, with its large scale and silvery-grey backdrop evoking the touch of a snowstorm in the Alps in Swiss, in which the light and fluid nature of the paint transforms the snowflakes into transparent white light that envelops the thick splash base. The transparency of the brushstrokes are as if there's a faint layer of snow covering the mountain scene.

This method creates a sense of space and light to the painting.

COLD CLOUDS LUSTING FOR SNOW In the 1980s, Chu Teh-Chun was inspired by the snowy landscape as he was observing outside the window as his train was passing through the Alps. From that moment on, the image of snowy mountains has been buried in his mind and inspired him to start the Snow Scene series. In 1991, Subtiles Nuées was created when the act of falling snow had been transformed into transparent white light, turning the visible landscape into a memory and achieving the idea of "seeking the artistic conception instead of the concrete appearance of things". This creative mindset allowed him to not be limited to objects, and has led him to be more transcendent and have a profound understanding in visual experience. Which in turn has inspired his future innovations in colour layering and spatial technique. By using the lightness and fluidity of the paint, Chu first uses a dark background and overlays of silvery-grey transparent colours to envelop the painting, creating a translucent and pale feeling of clouds. The final bright and vivid vine yellow, azure and turquoise dots are like "waterfalls flying into the air, rushing over the rocks, crystal like water drops spraying and splashing on the

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At that moment, I could only see the clouds moving on the white ground and the layers emerging, and my mind seemed to be floating and drifting with the changes in depth and shade. When I came back, I couldn’t help but want to paint.

- Chu Teh-Chun

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rock". The dark blue in this painting is the main subject, with the cold air covering the surface, creating a scene of 'cold clouds indicating snow' rising at dawn. As he says himself, "the landscape in a Western painting is an imitation of nature, whereas in a Chinese painting there is a distance from the actual landscape, a symbol, a deeper, tangible nature. The language of the painter is no longer what the eye sees, but what the eye sees, which is then expressed through the feelings of the mind". The artist has transformed the landscape in memory into a brilliant and timeless image.

"The contrast, complementary colours and neighbouring colours are freely combined to form different spatial atmospheres with the contrast of thin and thick, clear and thick, full and empty, and to create the illusion of flow with the fast projected light pulses, just like the time fragments captured by high-speed photography, freezing the infinite time in an eternal moment, breaking the eternal state of time and the finiteness of space, thus creating a continuous dream

until the end of time. It is like a symphony of rich poetry, giving a psychedelic appearance and a sense of the joy of life."

—Fan Dian

LIGHT: COMES TOGETHER AND THEN GOES APART AT TIMES In 1990, Chu Teh-Chun moved into a studio built for him by architect Dominique Ferro. The bright and spacious studio influenced the way Chu perceived light and composition of colours as he began to focus on colours produced by different lights. The cone of light that rises in the centre of the painting pushes the rich tones around it outwards, gradually pushing the light sources to the left and right, like the curtain of a stage slowly opening. Layers of progressively dynamic light intertwine and create disorienting changes, creating a visual depth and hierarchy of transitions, resulting in a rhythmic dance of light, realising what Guo Xi described in his Lin Quan Gao Zhi: "When the sun starts to rise, the morning light is ready to shine, the mountains are green like jade at dawn, the dawn mist is intertwined with the blue sky, merging and departing, gathering or scattering at times, changing in state, drifting in and out of the jungle and valley, and there is no way to know the end of it". Chu Teh-Chun's attempt to create a nonstatic visual experience on a flat canvas extends to the exploration of the unceasing movement of the universe and opens up a new way of expression.

1.

RU KILN: AS IF THE GREEN SKY WAITING FOR THE RAIN The shades of blue and grey at the top of the painting are like darting musical notes, with the small areas of grey and blue dye, as if the sky was cleared by the rain.

"The colour of the Ru Kiln should be just like the sky being washed after the rain" is used to describe the bluish and greenish colour used in this painting. Chu TehChun responds to the reflections of the natural scenery by abandoning the external real form and merely sketching its imagery, internalizing and tempering it through his own cultural heritage. By combining his own subjective experiences, the work extends into unknown imaginative spaces, giving expression to the image of what appears to be nothing, as stated by Laozi: "Eluding sight, eluding touch, The forms of things all in it crouch; Eluding touch, eluding sight, There are their semblances, all right." In this painting, Chu Teh-Chun not only creates an infinite space with the flow, rendering and brushwork of various kinds of light, but also implies the Chinese view of nature and philosophical concepts of the vast universe and subtle life.

2.

1. 哈伯望遠鏡觀測到的恆星形成區 Hubble's panoramic view of a star-forming region 2. 南阿爾卑斯山脈 South of Alps

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〇

23 CHU TEH-CHUN 朱德群 CHINESE, 1920-2014

Subtiles nuées

微妙的積雲

Painted in 1991 oil on canvas 200.4 x 200 cm. (79 x 78 1/2 in.) signed in Chinese; signed and dated 'CHU TEH-CHUN 91.' (lower right); titled, signed and dated '"Subtiles nuées" CHU TEH-CHUN 1991.'; signed in Chinese (on the reverse)

1991 年作 油彩 畫布 款識：朱德群 CHU TEH-CHUN 91.（右下）； "Subtiles nuées" 朱德群 CHU TEH-CHUN 1991.（畫 背）

PROVENANCE

Private Collection, Asia EXHIBITED

Taiwan, Taipei, National Museum of History, Chu Teh-Chun 88 Retrospective, 19 September-23 November, 2008.

LITERATURE

Overseas Chinese Fine Arts Series- Chu Teh-Chun, Artist Publishing, Taipei, Taiwan, 2007 (illustrated, p. 232).

Chu Teh-Chun 88 Retrospective, National Museum of History; & Thin Chang Corporation, Taipei, Taiwan, 2008 (illustrated, p. 155).

This work is to be sold with a certificate of authenticity signed by the artist's wife, Chu Ching-Chao.

This work will be included in the artist's forthcoming catalogue raisonné on the work of Chu Teh-Chun, being prepared by Fondation Chu Teh-Chun.

HK$ 15,000,000 - 25,000,000 US$ 1,923,100 - 3,205,100

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來源

亞洲 私人收藏 展覽

2008年9月19日-11月23日「朱德群88回顧展」國立歷 史博物館 台北 台灣 出版

《華裔美術選集II-朱德群》藝術家出版社 台北 台灣 2007年（圖版，第232頁） 《朱德群88回顧展》國立歷史博物館；及馨昌股份有限 公司 台北 台灣 2008年（圖版，第155頁） 附由朱德群妻子董景昭女士所簽署之保證書。此作將被 收錄於朱德群基金會正籌備編纂的《朱德群作品編年 集》

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HUANG YUXING 黃宇興

璀璨霓虹 演繹千古絕唱

黃宇興作為中國70年代藝術家的代表人物，以其 作品的霓虹色調、寶石一般的迷人色彩堆砌出的 奇幻世界而備受矚目。在炫目的色彩之下，畫面 隱藏著自然山水的壯麗風光、未來城市景觀、浩 瀚的星河宇宙以及語義豐富的文學與哲學意象。 黃宇興構建了一個充滿強烈視覺衝擊的表象，在 表象之下暗含了一個關於生命的感知、人類歲月 長河和歷史迴響的隱密線索，為作品蒙上了一種 超越時間亙古洪荒的力量感。 《赤壁》(Lot 24) 在視覺層面具有強烈的黃宇興式 的美學特徵，畫面擁有標誌性的夢幻色彩，璀璨 的星河照耀富有肌理經絡的山巒，開闊的水域折 射著綺麗的星光，斑斕的氣泡狀色塊輕盈穿梭於 山間，態勢若祥雲，這樣的視覺組成帶有強烈的 幻境之感，完美還原千年前蘇軾泛舟游於赤壁之 下所吟唱的歌謠：「桂棹兮蘭槳，擊空明兮溯流 光」。黃宇興並沒有停留在構建「羽化而登仙」 飄忽玄妙的夢境中，而是在「赤壁」這個龐大的 主題之下，以一個更為宏觀的視角，選擇繪於2米 橫幅的大畫布之上，賦予了本作「月映萬川」和 「滄海一粟」的深邃思考。

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除卻熠熠生輝的瑰麗畫面，《赤壁》背後的文化 意涵更為迷人，「赤壁」作為一種美學意象，本 身就帶有山河之美與豪傑輩出的三國亂世之下的 英雄主義，它代表了歷史上著名以少勝多的「赤 壁之戰」所展現的流芳百世的驍勇和智謀，以及 代表宇宙規律運行的哲學觀。赤壁之戰發生的百

HUANG YUXING

桂棹兮蘭槳，擊空明兮溯流光。

──蘇軾《赤壁賦》

年之後，蘇軾遊於赤壁，以極富文采的辭賦體寫 下了膾炙人口的《前赤壁賦》：「客亦知夫水與 月乎？逝者如斯，而未嘗往也；盈虛者如彼，而 卒莫消長也。蓋將自其變者而觀之，則天地曾不 能以一瞬；自其不變者而觀之，則物與我皆無盡 也，而又何羨乎！」其所流露出的生命觀就是黃 宇興作品中所展現的殘酷現實與美好幻境之間產 生的巨大張力的內在邏輯，而對於生命的感知是 他在多個創作序列中從未偏離過的視覺母題，黃 宇興的《赤壁》以焦灼的思考和繁華炙熱的視覺 效應來回應蘇軾對「逝去」與「輪迴」感悟，在 人類漫漫的時間長河之下，再盛極一時的偉大文 明都無法擺脫盡歸虛無的命運，而新的文明依然 會冉冉升起，週而復始。

武元直《赤壁圖》（局部）金代 台灣 台北 國立故宮博物院藏 Wu Yuan-Chih, The Red Cliff (detail), Jin dynasty, Collection of the National Palace Museum, Taipei, Taiwan

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RED CLIFF

HUANG YUXING

BRIGHT NEON SONGS OF ETERNITY Huang Yuxing is a representative figure for Chinese artists in the 1970s is noted for neon colours in his work, in which fantastical worlds are piled with jewel-like enchanting blocks of colour. Beneath the dazzling colours, hides the images of the magnificent natural landscapes, futuristic cityscapes, the vastness of the starry universe, and semantically rich literary and philosophical imagery. Huang Yuxing constructs a visually powerful representation, under which there is a hidden thread of perception of life, human history and historical repercussions, which imbues the work with a sense of power that transcends time and the eternal history.

Red Cliff (Lot 24) features the strong aesthetic characteristic of Huang Yuxing with its iconic dreamlike colours, the bright starry river shining on the richly textured mountains, the open water reflecting the dazzling starlight, and the bubble-like blocks of colour shuffling lightly between the mountains in the manner of auspicious clouds. It is a visual composition with a strong sense of illusion that perfectly recreates the poem that Su Shi sang a thousand years ago when he swam in his boat at the Red Cliff: "Our rudder and oars; redolent of cassia and orchids; Strike the moon's reflection; cleaving the glimmering water." Rather than remaining in the dreamy and mysterious world of "as light as if we had left the human world and become winged immortals". Huang Yuxing has chosen to paint the large canvas of the Red Cliff from a grander perspective of two meters, giving the work a profound reflection of "thousands of mountains in the moonlight" and "a drop in the ocean" under the grand theme.

In addition to the glittering and magnificent pictures, the cultural connotation behind Red Cliff is even more fascinating. As an aesthetic image, the painting is itself a symbol of the beauty of the mountains and rivers, advocating the heroism of the chaotic Three Kingdoms, representing the courage and wisdom of the famous "Battle of Red Cliff" in which the few outweigh the many, and the philosophical view of the laws of the universe in action. A hundred years after the Battle of Red Cliff, Su Shi, traveling to the Red Cliff, wrote in a highly literary and rhetorical style the popular First Visit to the Red Cliff: "Then I asked him, "Have you considered the water and the moon? Water flows away, but is never lost; the moon

waxes and wanes, but neither increases nor diminished.

If you look at its changing aspect, the universe passes in the twinkling of an eye; but if you look at its changeless aspect, all creatures including ourselves are imperishable.

What reasons have you to envy other things?" The view of life that emerges is the logic underlying the great tension between the harsh reality and the beautiful illusion that Huang Yuxing's works demonstrate. The perception of life is a visual motif from which he has never strayed in his many creative art works. In Red Cliff, Huang Yuxing responses to Su Shi's sense of "passing" and "reincarnation" with anxious contemplation and exuberant visual effects. Under the long span of humankind, the great civilizations of the past cannot escape the fate of nothingness, and new civilizations will rise and reappear. In the long course of human history, no civilization can escape the fate of falling and vanishing, even the great civilizations that have flourished for a time.

Then come the new civilizations that turn the wheel of fate again.

黃宇興《黃河入海口旁的新興城市》2019年作 佳士得 香港 2021年5月24日 成交價：9,250,000 港幣 Huang Yuxing, A Flourishing City Near the Yellow River Source , 2019, Christie's Hong Kong, 24 May 2021, Sold for HKD 9,250,000

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24 HUANG YUXING 黃宇興 CHINESE, B. 1975

Red Cliff

赤壁

Painted in 2017 acrylic on canvas 125 x 200 cm. (49 x 78 1/2 in.) signed and dated 'HUANG Yuxing 17' (lower right)

2017 年作 壓克力 畫布 款識：HUANG Yuxing 17（右下）

PROVENANCE

Private Collection, Asia

HK$ 1,000,000 - 2,000,000 US$ 128,200 - 256,400 164

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來源

亞洲 私人收藏

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物不僅僅是物，還意味著某種關聯性—和周圍 場所與空間的關係，和觀看者內心的與精神的 聯繫。

──張恩利

ZHANG ENLI 張恩利

瑪賽克地面

將畫面的平衡感直接拉滿，畫布底層依稀可見藝術 家繪畫中常見的「田」字方格紋，既是對他構圖的 輔助，也是一種空間的規律與限制，爾後更直接結 合成繪畫主題，更加細膩地以純粹的瑪賽克拼圖出 現。在藝術家的薄塗下，通常極為秩序的瑪賽克磚 面被賦予了靜物繪畫所缺乏的律動性。無論是流淌 而下的稀薄油彩痕跡，或者錯落般隨意拼湊的手繪 磚面，再到顏色深淺不一又帶些許混合對比色彩的 磚面，這樣一塊日常可見的普通地面躍然成為了一 個極富感情的時光片段。 張恩利在2005年末達成與國際畫廊巨頭豪瑟沃 斯畫廊的合作意向，之後成為他們所代理的藝術 家，這也意味著他是最早受到國際頂尖畫廊所青 睞進而簽約的中國藝術家。2009年他在瑞士的 伯爾尼美術館舉行個人首次的美術館個展，《瑪 賽克地面》正是在張恩利藝術生涯中極度重要的 這一年所作。與其說是繪製了一個平凡的地面， 倒不如說張恩利透過繪畫記載了他尋求物體細微 本質的過程。正如藝術家所言：「它們是有情緒 的，只是不像人的表情那麼表像，它被隱藏和轉 移了」，他在畫布上凝聚了此塊地面與前人關係 2000年後，張恩利將所有的筆墨與激情隱藏，著

的過往，承載了生命流淌的痕跡。

手挑戰在平凡的日常事物中尋找自身的各種可能 性，透過繪畫重新詮釋與「人」息息相關的自我 個性。2009年作的《瑪賽克地面》(Lot 25) 中，張 恩利賦予了上海老洋房中常見的瑪賽克紋路嶄新 的生命，藍色與黃色菱格紋在看似整齊地排列之 下，別具手感與情緒張力。 張恩利曾說過：「物不僅僅是物，還意味著某種關 聯性—和周圍場所與空間的關係，和觀看者內心的

「張恩利：有顏色的房子」展覽現場 Exhibition view of "Zhang Enli: A Room with Colour"

與精神的聯繫。」單點透視的斜角俯視空間視角

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ZHANG ENLI

MOSAIC FLOOR

An object is not just an object, but also implies a certain kind of connection - a relationship with the surrounding place and space, and a connection with the viewer's mind and spirit.

- Zhang Enli

Since 2000, Zhang Enli has been hiding all his sharp brushwork and passion, challenging himself to find possibilities in ordinary, everyday things and reinterpreting his own personality through painting, which is closely related to 'being a human'. Mosaic Floor (Lot 25) created in 2009 gives a new life to the mosaic patterns often found in old Shanghai villas. The blue and yellow chevrons are arranged in a seemingly neat pattern, expressing a distinctive feel and emotional tension.

The artist once said, "An object is not just an object, but also implies a certain kind of connection - a relationship with the surrounding place and space, and a connection with the viewer's mind and spirit". In this painting, the single point perspective of the oblique overhead spatial view brings a sense of balance directly to the painting, and the chevron in the shape of the Chinese character " 田 ", a common feature of the artist's paintings can be seen at the bottom of the canvas, both as an aid to his composition and as a form of spatial discipline and restriction. Directly into the subject matter of the painting, which appears more delicately as a pure mosaic. Under the artist's thinly

applied paint, the mosaic surfaces are usually arranged in an extremely orderly manner and are given a rhythm that lacks in still life paintings. From the thin traces of oil paint running down the surface, to the seemingly randomly hand-painted tiles of varying shades and contrasting colours, this ordinary, everyday ground becomes a highly emotive moment in time.

After joining with international gallery Hauser & Wirth in late 2005, he later became one of the representing artists of the gallery. He was also one of the first Chinese artists to be selected by one of the leading international galleries for representation. In 2009, which is his most important year of his career, Zhang Enli had his first solo exhibition at the Kunstmuseum Bern, Switzerland, and Mosaic Floor was also created in the same year as his first solo exhibition.

It is more than a painting of a commonly seen ground, but rather a record of his search for the subtle nature of objects. As the artist says, "they have emotions, but not as superficial as human expressions, they are concealed and transferred". On the canvas, he has presented the past relationship between this ground and its predecessors, bearing the traces of the flow of life.

雷內．馬格利特《戈爾孔達》1953年作 美國 休士頓 梅尼爾收藏 博物館藏 René Magritte, Golconda (Golconde) , 1953, Collection of The Menil Collection, Houston, USA

25 ZHANG ENLI 張恩利

CHINESE, B. 1965

Mosaic Floor

瑪賽克地面

Painted in 2009 oil on canvas 159.5 x 299.5 cm. (63 x 118 in.) dated '09'; signed in Chinese (lower right); titled and signed in Chinese; dated and inscribed '2009 300 x 160 cm' (on the reverse)

2009 年作 油彩 畫布 款識：09 恩利（右下）；瑪賽克地面 2009 300 x 160 cm 張恩利（畫背）

PROVENANCE

Hauser & Wirth, London, UK Acquired from the above by the present owner EXHIBITED

UK, London, Hauser & Wirth, Zhang Enli, 15 January-27 February, 2010.

HK$ 1,900,000 - 2,500,000 US$ 243,600 - 320,500 170

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來源

英國 倫敦 豪瑟沃斯畫廊 現藏者購自上述來源 展覽

2010年1月15日-2月27日「張恩利」豪瑟沃斯畫廊 倫敦 英國

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XIE NANXING 謝南星

第一頓鞭子 No.2（浪 No.2） 謝南星，他是中國當代青壯輩中，最勇於突破新創

造層次與深度。策展人Ruth Noack在「有形皆寄於

的藝術家之一，一方面基於自身創作理念的前進，

無形」一文裡，提出了謝南星「利用了數種媒介過

亦不願意受到成名的「符碼」束縛，當作品受到眾

濾後產生的素材圖像，製造出一些像是電視螢幕的

人關注之際，他早已開始迥然不同的新作研究。他

反射物的『視覺瑕疵』」。

首次引發學術圈注目，是在1999年的第48屆威尼 斯雙年展，當時以風格獨特的人物作品驚豔藝壇。 90年代末的一系列作品，是謝南星看似以照片為 基礎，描繪出少年青春時期光怪陸離的情節，被人 冠以「青春殘酷」系列。

夜場的《第一頓鞭子 No.2（浪 No.2）》(Lot 26) 畫 作，創作於2008年，明顯與謝南星90年代與2000 年初的作品迥然相異，就是謝南星運用多種媒介而 產生的作品。「第一頓鞭子」系列謝南星總共創作 三幅，編號為No.1、No.2與No.3，觀者若能夠一次

這個時期的謝南星，與其它中國當代青年藝術家一

進入三幅作品的世界，會更理解謝南星為什麼要這

樣，明顯受到德國藝術家李希特影響，而他的繪畫

樣創作。三幅作品同時出現在2008年北京麥勒畫

手段更加強了戲劇感，也延伸讓觀者探究藝術家

廊的謝南星「大展覽」個展，藝術家的創作初衷，

所處的社會環境。策展人朱朱，在《灰色的狂歡節

即是探究心理學家佛洛依德的「佛洛依德失誤」。

─2000年以來的中國當代》一書裡這樣說：「謝

佛洛依德認為，人們不經意間出現的像是口誤、筆

南星的個人軌跡，呈現一種態勢，他[……] 以尖利

誤、動機性遺忘、童年回憶遺忘等差錯並不是無意

的生理性筆觸，戲劇化的表達生命成長受壓抑的家

義的，而是受潛意識影響。謝南星舉例：「我本來

庭氛圍，其背後的隱喻性可以延伸到整個社會環

想說『玻璃杯』，我心裡想的也是玻璃杯，但我卻

境。如果說，他在那個階段的圖像令觀眾感到震撼

說成了『麵包』。這些『錯誤』總是與一種原始的

的話，在隨後的過程中，他卻是在逐漸削減圖像內

欲望有關，與想要表達自我的無盡欲望有關。」

容表現力的同時，邁入到純化的個人語言的實踐之 中。」

於是，謝南星做了這三件「第一頓鞭子」系列作 品。藝評人蕭嶺揭開了謝南星想嚐試的挑戰：「他

朱朱評介謝南星，他把畫布變成了「外科醫生的手

的這番話隱藏了他真正的興趣：通過在畫布上的偷

術檯」，藝術家企圖在冷靜、細微的空間結構裡製

換『口誤』這個概念，精心策劃了一場誘人但並不

我最早開始畫這種東西，與觀眾的參與和交流 是有關係的，我當時想能不能畫出一種特別讓 人打心眼裡難受，從而受到震動。

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──謝南星

謝南星《等待的劇場》2019年作 Xie Nanxing, A Theater of Waiting , 2019

XIE NANXING

公平的遊戲。藝術家不僅僅和觀者玩這場遊戲，也 在和自己玩遊戲。」 策展人盧迎華的評論文章分析，早在2005年開 始，謝南星就走入「偽裝繪畫」和「逃離繪畫」的 途徑了。他著迷於運用攝影、錄像、甚至行為藝術 的實踐來做成繪畫作品，隱藏了最原始的圖像。 「第一頓鞭子」的3幅作品，是謝南星尋覓北京的 某個廣告看板，將廣告看板正反顛倒後，再從背面 打光，然後用影像錄下了這個藝術家設置的場景。 謝南星再透過電視螢幕回放這段影像，再拍攝某個 畫面作為其創作這三幅系列作品的參照圖片。謝南 星此舉，設下了重重關卡，讓觀者無法回溯藝術家

《第一頓鞭子 No.2（浪 No.2）》畫面裡，似乎依 稀可以看到一群小孩，拉長的身影籠罩在藍色的光 暈裡，彷彿有著不可言說的謎團，等待著我們解 碼。如果三件「第一頓鞭子」作品一起深入進去 看，尋覓那一條鞭子，我們很容易掉入藝術家的陷 阱，因為高度專注的長時間凝視，讓視覺暈眩愈看 愈迷朦。謝南星開啟了全新的藝術創作實驗，在這 個藝術遊戲裡，可以說顛覆了觀者對於圖像原有的 邏輯認識，也捉弄了我們，也對繪畫在藝術史的存 在價值，透過全然的創新提出自己的聲音。這也是 《第一頓鞭子 No.2（浪 No.2）》作品，能與其它 最傑出的當代作品匹敵的關鍵價值。

創作的最原始圖像，也等於讓觀者，只能專注於藝 術家的繪畫行為本身，而非繪畫內容的意義。謝南 星一系列極端的實踐，完全取消了畫面內容的敘 事、符號與辨別的可能。我們細究畫面，可能潛意 識的會把心裡的慾望表達出來，但這個畫面，卻可 能根本不是我們所設想的。

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XIE NANXING

THE FIRST ROUND WITH A WHIP NO.2 (THE WAVE NO.2) Xie Nanxing one of the breakthrough young Chinese artists of our generation, both in terms of his own progressive creative vision and his unwillingness to be bound by the 'symbols' of fame. His started exploring a new style in his work just as he was gaining attention as an artist. He first attracted attention from the academic circle at the 48th Venice Biennale in 1999 when he impressed the art world with his distinctive portraits. In the late 1990s he started a series of works that appeared to be based on photographs depicting eccentricities of adolescence which were labelled as the Youthful Cruelty series. According to the artist, "the inspiration of these works came from the audience's participation and communication. At that time, I wondered if I could paint something that was particularly heartwrenching and uncomfortable, so I was shocked."

Like other young contemporary Chinese artists of this period, Xie Nanxing was also influenced by the German artist Gerhard Richter, and his approach to painting has become more theatrical, aiming to invite the viewer to explore the artist's social environment. The curator Zhu Zhu says in the book Gray Carnival: Chinese Contemporary Art since 2000 that: "Xie Nanxing's personal artistic trajectory presents a situation in which he [...] dramatizes the repressed family atmosphere of his growing up with sharp physical strokes, the metaphor behind which can be

1.

extended to the whole social environment. If his images at that stage shocked the viewer, in the subsequent process he gradually reduced the expressive power of the images and shifted into the practice of a purified personal language."

Zhu Zhu believes that Xie has transformed the canvas into a surgeon's table, in which the artist attempts to create layers and depths within a cool, subtle spatial structure. Curator Ruth Noack stated in her article "The tangible is in the intangible", and suggests that Xie "uses images of material filtered through several media to create 'visual imperfections' that resemble the reflections of a television screen".

1. 格哈德．里希特《水手》1966年作 Gerhard Richter, Matrosen (Sailors) , 1966 2. 謝南星《無題》2005年作 中國 香港 M+藏 Xie Nanxing, Untitled , 2005, Collection of M+, Hong Kong, China

2.

Created in 2008, The First Round With a Whip No.2 (The Wave No.2) (Lot 26) part of the Evening Sale this time, is a clear departure from the artist's works from the 1990s and early 2000s and is the result of his exploration of multiple mediums. The First Round With a Whip series include three paintings, titled No.1, No.2 and No.3 respectively. The audience might be able to understand his intention if they can view the three of works at the same time. The three works were shown in his solo exhibition "BIG SHOW" at the Galerie Urs Meile in Beijing in 2008, where the artist's original intention was to explore the psychologist Sigmund Freud's "Freudian slip". According to Freud, inadvertent errors such as slips of the tongue, mistakes in penmanship, motivational forgetfulness and forgetfulness of childhood memories are not unintentional but are influenced by the subconscious. For example, Xie Nanxing says, "I wanted to say 'glass', and I was thinking 'glass' in my mind, but I actually said 'bread' instead. These 'slips' are always related to a primal desire, to the endless desire to express oneself."

As a result, Xie Nanxing made these three pieces in the The First Round With a Whip series. Art critic Xiao Ling reveals the challenge that Xie Nanxing wanted to try: "His words conceal his true interest: by swapping the concept of 'slip of the tongue' on canvas, he has orchestrated a seductive but unfair game. The artist is not only playing this game with the viewer, he is also playing it with himself."

Curator Lu Yinghua analyzed in a critical essay that as early as the 2005, Xie Nanxing's works involved a distinct style that disguised his paintings to appear as other things. He likes using photography, video and even performance art practices to create his works, hiding the most primitive images behind. For the three pieces in the The First Round With a Whip series, the artist found an advertising board in Beijing, turned it upside down and then lit it from the back. He then recorded the scene, replayed the video and took a picture of the scene. The final product was used as

The inspiration of these works came from the audience’s participation and communication. At that time, I wondered if I could paint something that was particularly heart-wrenching and uncomfortable, so I was shocked.

- Xie Nanxing

the starting point for the three works in the series. In doing so, he has set up a barrier that prevents the viewer from retracing the original image of his work and has allowed the viewer to focus on the act of painting rather than the meaning and content of the work. The series of extreme practices have eliminated the possibility of narrative, symbolism and identification of the content of the work.

We may subconsciously express our desires when we investigate the work, but the image may not be what we had envisioned at all.

In The First Round With a Whip No.2 (The Wave No.2) a group of children are faintly seen, their elongated figures shrouded in a blue halo, as if there is an unspeakable mystery waiting to be deciphered. If we look deeper into the three The First Round With a Whip works together, we can easily fall into the artist's trap by searching for that one whip, as the high concentration of the long gaze makes the visual dizziness more confusing. By doing so, Xie Nanxing has started a new experiment in art creation.

In this game of art, he subverts the viewer's original logical understanding of the image and pokes fun at us.

Additionally, giving a voice to the value of the existence of painting in art history through total innovation. This is the key value of The First Round With a Whip No.2 (The Wave No.2), a work that rivals the most outstanding contemporary works.

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PROPERTY FROM AN EXCEPTIONAL ASIAN PRIVATE COLLECTION

亞洲傑出私人收藏

26 XIE NANXING 謝南星

CHINESE, B. 1972

The First Round with a Whip No.2 (The Wave No.2) Painted in 2008 oil on canvas 219 x 384 cm. (86 x 151 in.) signed in Chinese; dated '2008.5.10' (on the reverse) PROVENANCE

Galerie Urs Meile, Beijing, China Acquired from the above by the present owner EXHIBITED

China, Beijing, Galerie Urs Meile, Big Show-Xie Nanxing, 4 November, 2008-11 January, 2009.

HK$ 3,500,000 - 5,500,000 US$ 448,700 - 705,100 176

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第一頓鞭子 No.2（浪 No.2） 2008 年作 油彩 畫布 款識：謝南星 2008.5.10（畫背） 來源

中國 北京 麥勒畫廊 現藏者購自上述來源 展覽

2008年11月4日-2009年1月11日「大展覽─謝南星」麥 勒畫廊 北京 中國

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YU YOUHAN 余友涵

抽象 中國當代的抽象藝術發展，根據學者高名潞的研 究，在80年代初開始，上海的標誌代表藝術家， 包括余友涵、陳箴、丁乙、張建軍、秦一峰等 人，開始了點與線的抽象畫，與東方的哲學觀， 包含「圓」、「方」、「有」、「無」等思想， 與以幾何形式為主的西方抽象，開展出不一樣的 道路。余友涵，他無疑是發展「圓」最為成熟， 最為學術與市場認可的代表藝術家。 從最早發展的黑白色系，代表天地初分陰陽，余 友涵的抽象系列作品，與道家老子思想密不可 分，「道生一，一生二，二生三，三生萬物」。 余友涵的一幅畫，就是一個宇宙小世界，暗藏著 藝術家體悟的天地大道。 《抽象1990-14》(Lot 28) 作品，屬於藝術家前一 個十年階段發展的抽象畫作，以壓克力彩運用中國 傳統水墨技法，選取黑白兩色系表現，強烈對比形 成了陰陽相生；而在構圖上取方棄圓，筆墨書法的 功底寓於畫中，結構緊實的曲線筆觸，一條一條指 紋般的曲線，上上下下左左右右，像質子、中子、 電子般組成物質，充斥於天地之間；余友涵僅靠 點、線、面，就合組而成一片天地，他筆下的線 條，形成一個流轉的世界，而在變動之間有其規律 與和諧，印證余友涵對道家境界的體悟，對人類生 活的嚮往。此作遠遠望之，恰似一幅充滿張力的抽 象山水，正是余友涵第一階段的抽象作品的大成之 作。到了90年代初，余友涵轉向政治波普的創作 表現，成為政治波普的代表藝術家之一。 從2007年開始，余友涵重回「圓」系列的創作。 在余友涵與策展人小漢斯的對談中，他這樣說： 「我要謳歌整個大千世界，歸於謳歌大千世界

Lot 28

切事物的『終』，並由此寓意『一瞬』和『永 恆』。」 2016年《抽象 彩圓（三）》(Lot 27) 一作，余友 涵的「圓系列」作品已邁向渾然天成的成熟期， 不只有藝術家宛如指紋般的獨特紋路，色彩繽紛 的線條合組了這方天地，象徵納涵天地萬物的元 素，包容其間。高名潞這樣評價余友涵：「籠天 地於形內，挫萬物於筆端」，正是其顛峰之作的 寫照。畫幅為1米8乘1米8正方型，方圓之間有智 慧，博大兼容著萬物，這幅《抽象 彩圓（三）》 一作，深具和諧的美感，余友涵多年沉浸鑽研， 一筆一劃就是一山一脈，力比千鈞卻又舉重若 輕。從80年代開始最早的圓系列，只有一個黑 圓、一個白圓，畫面上還沒有點點，到而今的顛 峰之作，余友涵駕馭色彩，宛若萬花筒折射而出 的點點星光，在這塊方幅畫布裡的圓，既是一 瞬，也是永恆。

的源起—『一』，所以我以『圓』作為代表； 『圓』是一個精神象徵，一個特殊的符號，它 既可以表現一切事物的『始』，也可以表現一

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YU YOUHAN

ABSTRACT

The development of contemporary abstract art in China according to the research of scholar Gao Minglu began in the early 1980s when representative artists from Shanghai, including Yu Youhan, Chen Zhen, Ding Yi, Zhang Jianjun and Qin Yifeng. These artists began to develop abstract paintings with dots and lines, which was a different path from Western abstraction, and was dominated by geometric forms. Their explorations were in line with Eastern philosophical concepts, including the ideas of 'circle', 'square', 'being' and 'not being'. Yu Youhan is undoubtedly the most mature, academically and marketrecognised representative artist in the development of the concept of 'circle'.

From the earliest development of black and white, representing the first division of heaven and earth into yin and yang, Yu Youhan's abstract series are inextricably linked to the Taoist thought of Laozi stating that "The Dao produced One; One produced Two; Two produced Three; Three produced All things." A painting of the artist is a small world of the universe, concealing his understanding of the Great Dao of Heaven and Earth.

Abstract 1990-14 (Lot 28) is an abstract painting from the previous decade of the artist's exploration, using traditional Chinese ink and wash techniques in acrylics, choosing black and white to express the intention thus forming a strong contrast between yin and yang. The composition is in square rather than in circle, in which the calligraphic skills of the brush and ink are fully incorporated into the painting. With tightly structured curving strokes, fingerprint-like curving lines running up and down, left and right, these lines are like protons, neutrons and electrons, forming matter and filling the space between heaven and earth. With creative combination of point, line and surface, the artist creates a universe. The lines under his brush form a world of fluidity and harmony in the midst of change, testifying to his understanding of the Taoist realm and aspiration for better human life. When viewed from a distance, this work resembles an abstract landscape full of tension and is the culmination of Yu Youhan's first stage of abstraction exploration. In the early 1990s, Yu Youhan turned to political pop and became one of the representative artists of political pop.

Since 2007, Yu Youhan returned to the creation of the Circle series. In a conversation with curator Hans-Ulrich Obrist, Yu Youhan said: "I want to praise the boundless universe about the origin of the universe --the 'one' - and so I use 'circle' as a symbol. Given its spiritual and special nature, the 'circle' can be used to express both the 'beginning' and the 'end' of all things, and thus signifies 'an instant moment' and 'eternity' at the same time."

In 2016, with Abstract Colourful Circle (3) (Lot 27), Yu Youhan's Circle series has reached a mature stage of perfection. Not only did the artist master his unique fingerprint-like patterns, but also the colourful lines that combine to form the universe, symbolising the elements that encompass all things in heaven and earth. Gao Minglu said of Yu Youhan: "The universe is enclosed within his form, and everything is embellished by his brush", which is a testimony of his work at its peak. This painting is in the shape of a 1.8m x 1.8m square, with wisdom between the square and the circle, including a vast and compatible range of objects. This painting Abstract Colourful Circle (3) presents profound harmony and beauty, with Yu Youhan's years of immersion and research, a single stroke is like a mountain and a peak, with a force greater than a thousand borders but light as a feather at the same time.

From his earliest series of circles in the 1980s, which consisted of only one black and one white circle with no dots on the surface, to his current work representing his mastery, Yu Youhan's mastery of colour is like a kaleidoscope of reflected starlight. The circle in this square canvas signifies 'an instant moment' and 'eternity' at the same time.

瓦西裡．康丁斯基《顔色研究：帶同心圓的正方形》1913年作 德國 慕尼黑 倫巴赫之家市立美術館藏 Wassily Kandinsky, Colour Study: Squares with Concentric Circles , 1913, Collection of The Städtische Galerie im Lenbachhaus, Munich, Germany

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27 YU YOUHAN 余友涵

CHINESE, B. 1943

Abstract Colourful Circle (3)

抽象 彩圓 （三）

Painted in 2016 acrylic on canvas 170 x 170 cm. (67 x 67 in.) signed in Chinese (lower right)

2016 年作 壓克力 畫布 款識：余友涵（右下）

PROVENANCE

Private Collection, Asia

HK$ 3,200,000 - 5,200,000 US$ 410,300 - 666,700 182

POLY AUCTION HONG KONG

來源

亞洲 私人收藏

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28 YU YOUHAN 余友涵

CHINESE, B. 1943

Abstract 1990-14

抽象1990-14

Painted in 1990 acrylic on canvas 94.5 x 114 cm. (37 x 45 in.) dated '1990'; signed in Chinese (lower right)

1990 年作 壓克力 畫布 款識：1990 友涵（右下）

PROVENANCE

Private Collection, Asia LITERATURE

Yu Youhan, 3030Press, Hong Kong, China, 2015 (illustrated, plate 79, p. 119).

HK$ 3,200,000 - 5,200,000 US$ 410,300 - 666,700

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來源

亞洲 私人收藏 出版

《余友涵》3030Press 香港 中國 2015年（圖版，第79 圖，第119頁）

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RUDOLF STINGEL 魯道夫·斯廷格爾

無題

出生於義大利小鎮梅拉諾的藝術家魯道夫．斯廷 格爾在1987年來到紐約，很快的就被紐約藝術 界更具概念性的藝術所吸引。他開始反思自我的 創作根源，他說：「在歐洲，你從來不需要處理 『你的工作是做什麼的？』這個問題。我不知道 我的工作是關於什麼的。」至此，他開始質疑藝 術家的雙手在創作過程中所扮演的角色，決定開 始挑戰傳統繪畫的規範，為繪畫找尋新的可能。 斯廷格爾在1989年製作了一本名為《程序》的 說明手冊，翻成六種語言的版本，並附上黑白照 片，按部就班的指導讀者如何去創作他的畫作， 其中描述了藝術家90年代備受推崇的銀色畫製 作過程：在畫布上塗上顏料（用電動攪拌器混 合），在畫布上鋪一塊薄紗，在薄紗上噴上銀 漆，然後將薄紗取下。在形式上，斯廷格爾效仿 了16世紀藝術家丟勒所作的《畫家手冊》，不但 挑戰繪畫與當代藝術的界限，更重新審視了藝術 家與作品之間的關係，讓任何閱讀手冊的人都可 以製作斯廷格爾的畫作。 1996年作的《無題》(Lot 29) 正是以上述方式改良 而成的概念性繪畫，斯廷格爾意圖挑戰大眾對於繪 畫的界定與認知。與其用畫筆在畫布上細筆描繪， 他將薄紗鋪在厚實的天藍色繪畫層以及已經上了白 色油彩的底層畫布上，最後將薄紗取下，之後所形 成的紋路既粗獷又有顆粒感，展現出令人屏氣懾息 的動態。賴納．澤特在他所著的《魯道夫．斯廷格 爾》中的一文〈搗蛋鬼〉提到：「斯廷格爾可以被 歸類為那些熱情追求在作品表面幾乎是自動出現繪

形成的特殊肌理，令人眼花撩亂的網格和生動的 紋理延續了藝術家所運用材料的物理性，讓抽象 的畫面感上隱晦的保有具象的組成。為繪畫賦予 新的涵義，斯廷格爾在畫布上展現創作過程所留 下的痕跡，重現了一種時間的推移，將人類記憶 引入藝術的範疇之中。 斯廷格爾對藝術家本質所提出的質疑，讓他的作 品畫面在驚人的美感下隱藏著一種諷刺的態度， 這位敢於冒險的藝術家顛覆了觀眾對一件藝術品 的理解和體驗，並重新定義繪畫這件事。就像策 展人法蘭切斯科．波南說的一樣：「每幅畫都是 一種反抗行為，但也是正在進行的革命的眾多部 分之一，以將繪畫從世俗表現或色域湮滅的暴政 中解放出來。」斯廷格爾的作品飽富詩意性，引 領觀者進行對話，並不只是帶有偶發與觀念性的 一場表演，從而更引起廣泛的思考，與承載著人 們集體的意識與認知。

畫性視覺效果的藝術家，媒材表層的肌理證明了一 切。」不規則的圖案既是藝術家的精心安排但同樣 具有偶然性，有種波洛克的畫面感，跟早期說明手 冊中嚴格執行的銀色畫中所採用的模板技術相似卻 更加多樣化。忽隱忽現的線條跟斑點呼應著薄紗所

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RUDOLF STINGEL

UNTITLED

Born in the small Italian town of Merano, artist Rudolf Stingel arrived New York in 1987 and was soon drawn to the more conceptual nature of the New York art scene.

He began to reflect on his own creative roots, saying: "In Europe, you never had to deal with the question 'What is your work about?' I had no idea what my work was about".

At this point, he began to question the role of the artist's hands in the creative process and decided to challenge the norms of traditional painting and to find new possibilities for painting.

In 1989, Stingel produced an instruction booklet titled Instructions, available in six languages and accompanied by black and white photographs. This book gave the reader step-by-step instructions on how to create his paintings, describing the artist's much-admired process for making silver paintings in the 1990s: paint is applied to the canvas (mixed with an electric mixer), a piece of gauze is then used, spraying the gauze with silver paint and then removing the gauze. In its form, Stingel follows the example of The Painter's Manual by the 16th century artist Albrecht Dürer, which not only challenges the boundaries between painting and contemporary art, but also re-examines the relationship between artist and work, allowing anyone who reads the manual to make Stingel's paintings.

Created in 1996, Untitled (Lot 29) is a conceptual painting modified in this way, in which Stingel intends to challenge the definition and perception of painting. Rather than using a brush to paint the canvas with fine strokes, he lays the gauze over a thick layer of sky blue paint and an underlying canvas that has been painted with white oil, and finally removes the gauze to create a texture that is both bold and grainy, creating a breath-taking dynamic. Reiner Zettl, in his article titled "The Trickster" (selected from the book Rudolf Stingel) says that "Stingel may be categorized in the group of artists who passionately pursue painterly effects that for the most part appear almost autonomously on the picture's surface. The texture of the material's surface is proof of its manufacture." The irregular patterns are at once carefully arranged by the artist but equally accidental, with a Jackson Pollock-esque graphic quality, similar to but more varied than the stencil technique used in the strictly executed silver paintings of the early instruction manuals.

The flickering lines and spots echo the specific texture

1. 魯道夫．斯廷格爾《程序》1989年作 Rudolf Stingel, Instructions , 1989 2. 傑克遜．波洛克《灰色的彩虹》1953年作 美國 芝加哥 芝加哥藝術機構藏 Jackson Pollock, Greyed Rainbow , 1953, Collection of Art Institute of Chicago, Chicago, USA 3. 阿爾佈雷特．丟勒《畫家手冊》（局部）第 二版 1538年作 Albrecht Dürer, The Painter's Manual (detail), 2nd edition, 1538

1.

2.

of the gauze, and the dazzling mesh and vivid textures continue the physicality of the materials used by the artist, allowing the abstraction of the painting to remain implicitly figurative in composition. Giving a new meaning to the painting, Stingel shows the traces of the creative process on canvas, recreating a passage of time and introducing human memory into the realm of art.

By questioning the very nature of the artist, Stingel's images conceal an irony beneath their stunning beauty, as this daring artist subverts the viewer's understanding and experience of a work of art and redefines painting. As curator Francesco Bonami puts it, "Each painting is an act of rebellion, but also one of the many parts of an ongoing revolution to free painting from the tyranny of mundane representation or colour field annihilation." Stingel's poetic works lead the viewer into a dialogue that is more than just an episodic and conceptual performance, and thus provokes a wide range of thoughts and carries the collective consciousness and awareness of the people.

3.

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PROPERTY FROM A DISTINGUISHED ASIAN PRIVATE COLLECTION

亞洲頂尖私人收藏

〇

29 RUDOLF STINGEL 魯道夫·斯廷格爾 ITALIAN, B. 1956

Untitled

無題

Painted in 1996 oil on canvas 172.7 x 134.6 cm. (67 3/4 x 52 3/4 in.) signed and dated 'Stingel 96' (on the reverse)

1996 年作 油彩 畫布 款識：Stingel 96（畫背）

PROVENANCE

Margo Leavin Gallery, Los Angeles, USA Private Collection (Acquired from the above in 1996) Christie's New York, 11 November 2015, Lot 417 Gagosian Gallery, Hong Kong, China Acquired from the above by the present owner EXHIBITED

USA, Los Angeles, Margo Leavin Gallery, Rudolf Stingel: New Works, September-October, 1996.

HK$ 15,000,000 - 25,000,000 US$ 1,917,300 - 3,195,400 190

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來源

美國 洛杉磯 Margo Leavin畫廊 私人收藏（1996年購自上述來源） 佳士得 紐約 2015年11月11日 編號417 中國 香港 高古軒畫廊 現藏者購自上述來源 展覽

1996年9-10月「魯道夫·斯廷格爾新作品」Margo Leavin畫廊 洛杉磯 美國

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TAKASHI MURAKAMI 村上隆

DOB 先生

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TAKASHI MURAKAMI

村上隆在成長時期深受日本動畫和漫畫的影響， 他雖於東京藝術大學主修日本畫，卻因受到藝術 家大竹伸朗的啟蒙，拋棄了學院派日本畫的創 作，轉向更加能夠突顯個人特質的當代藝術。他 的作品帶有濃濃的卡通漫畫色彩，跨時代結合了 東西文化的娛樂性，實際卻在影射日本文化內 涵。村上隆在他知名的「超扁平宣言」中提到他 認為當今的社會、風俗、藝術、文化都極度的 平面，「今天，日本電玩和卡通動畫最能表現這 種特質，而這些又在世界文化中具有強大的力 量。」村上隆的早期靈感源自於金田伊功1983年

的動畫《Harmagedon》，並且受到日本眾多稀奇

我常常在思考藝術的文脈，這 些思考，讓我有了這張變換自 如的臉。現代藝術那些屹立

不倒的大師們，例如塞尚、杜 尚、畢卡索、沃霍爾以及岡本 太郎，為什麼他們的作品在數 十年後仍然有那麼旺盛的生

命力？我們所熟知的米老鼠、 機 器 貓， 還 有 Hello Kitty 的

古怪的浮世繪藝術家所影響，在藝術性跟觀賞性 中取得巧妙的平衡，打破了通俗文化與傳統主義 的界限，得以讓大眾都能親近欣賞。 輕鬆調皮的《DOB先生》(Lot 30) 可以說是村上 隆本我的化身，也是藝術家於1993年最早創作的 一位虛擬角色，神似迪士尼卡通明星米老鼠的造 型結合了日本超扁平動漫風格的特點像是那典型 的水汪汪大眼，並可以從配色到手套、鞋襪等造 型上看出源自於日本動漫－多啦Ａ夢以及遊戲－ 音速小子的影響。圓圓的大頭以及雙耳上由觀者 目光的左面至右分別寫上大寫的D、O、B，取自 於1970年代漫畫家川崎伸作品《滑稽大將》的 名言，其中角色將「Doshite」（為什麼）誤讀成

形象，他們在市場上的『生存 祕訣』或者說『普遍性』又

頭禪「Oshamanbe」，實際上為北海道的城鎮長

是什麼呢？─其實我當初做

『DOB 計畫』就是為了要探

妮．侯哲爾與芭芭拉．克魯格擅長運用裝飾性文

詢這些問題。

「Dobojite」，再加上知名喜劇演員由利徹的口 萬部，所結合成的日文俚語「Dobojite, Dobojite, Oshamanbe」。在1990年代，美國觀念藝術家珍 字以表示作品的核心理念，當時在日本造成了極 大轟動，也引起了眾多藝術家仿效，被視為對傳

──村上隆 村上隆與《DOB先生》 Takashi Murakami with Mr. DOB

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統藝術形式物質化和造型性 的一種反叛精神。DOB 先生形象所闡述的文 字造型正代表了村 上隆對消費主義 以及日本模仿西 方觀念藝術的 批判與獨特見 解。 如同村上隆所 說：「DOB先生 的誕生源自我對社 會現象的反思，不過 他誕生之後，彷彿有 了自己的生命；起初 只有簡單扁平的臉，

在之後的原版DOB先生也加上

後來又衍生出不同的形

皮卡丘的閃電尾巴，融入動作

態，充滿實驗性質，日

賦予角色人性與活力，終於完整

益豐富而複雜。」原先只 有一個大耳朵頭像的 DOB先 生 逐漸進化 ， 藝術家先是在他招牌 的臉上做實驗，從靦腆 的微笑到裂嘴大笑，時 而還會露出如同鯊魚般的 利齒。 在 日 本 動 漫寶可 夢 席捲全球後，村上隆在1998 年作的《Mr. DOB All Stars (Oh My The Mr. DOB)》中將卡通明 星皮卡丘與DOB先生作融合，而

了全身形象，就像是藝術家「日 益豐富而複雜」的人生經歷一般。 村上隆意圖在作品中探討日本被年輕 人蔚為風潮的動漫文化性，這樣沉迷 於幻想的現象往往被過度美化，也在 日本的年輕社會造成了極大的影響， 很多人雖已邁入成年但卻被抨擊依舊長 不大。然而近年來動漫文化在國際上越來 越大眾，從次級文化逐漸轉向主流，早已走 出日本本土成為了國際性的現象級文化，愛 好者不再需要擔心被群眾目光所審視，終 於可以為自己發聲。《DOB先生》巧妙地 象徵文化無遠弗屆的滲透性，他好奇地探 視和張望，從超扁平的型態走入三維生 活。如此大型的DOB先生全身立像還 是首次出現在公開的二級市場， 極其罕見之餘，如此可愛討喜 的形象勢必也會成為新一代的 網紅打卡點。

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TAKASHI MURAKAMI

MR. DOB

I have often pondered over the context of art, and these thoughts have given me this face, which I can change with ease. Why do the masters of modern art, such as Cézanne, Duchamp, Picasso, Warhol and Taro Okamoto, whose works are still so vibrant decades later? What is the ‘survival tips’ or ‘universality’ of the Mickey Mouse, Doraemon and Hello Kitty figures that we know so well in the marketplace? These are the questions I wanted to inquire when I first started the DOB project.

- Murakami Takashi

Takashi Murakami was heavily influenced by Japanese animation and comics growing up. Although he majored in Japanese painting at Tokyo University of the Arts, he was inspired by the artist Shinro Ohtake and abandoned the academic style of Japanese painting for contemporary art as he was able to express his personal characteristics.

His work often carries a strong cartoon and comic flavour, combining entertainment elements of Eastern and Western cultures, successfully attracting audience of different generations. In fact, they all allude to Japanese culture connotations. In his famous 'Superflat Manifesto', Murakami stated that he believes that the contemporary society, customs, art and culture are extremely twodimensional and that "today, Japanese video games and cartoon animation best express this quality, which is a powerful force in world culture". Inspired by Yoshinori Kanada's 1983 animation Harmagedon and influenced by Japan's many quirky ukiyo-e artists, his early work strikes a

delicate balance between artistry and ornamental value, breaking down the boundaries between popular culture and traditionalism to make it accessible to the general public.

The light-hearted and mischievous Mr. DOB (Lot 30) is the embodiment of Takashi Murakami's true self, a virtual character first created by the artist in 1993. It has the resemblance to Disney's Mickey Mouse, the typical Japanese super-flat animation style of big watery eyes, the influence of Japanese anime Doraemon and lastly the game Sonic Boy's colour scheme can be seen in gloves and socks.

The round head and the ears are written with capital D, O, B from left to the right of the viewer's gaze respectively are taken from the famous words of 1970s comic artist Naboru Kawasaki's Inakappe Taisho, in which the character

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mispronounces "Doshite" as "Dobojite", and the famous comedian Tōru Yuri's mantra "Oshamanbe". In fact, it is the Japanese slang "Dobojite, Dobojite, Oshamanbe" is actually formed by Manbu, the town chief of Hokkaido. In the 1990s, American conceptual artists Jenny Holzer and Barbara Kruger created a sensation in Japan with their use of decorative text to represent the core ideas of their work, which was imitated by many artists and was seen as a rebellious spirit against the materiality and plasticity of traditional art forms. The textual forms illustrated by Mr. DOB represent Murakami's critique of consumerism and a unique interpretation of Japanese imitation of Western concepts.

As Takashi Murakami said, "Mr. DOB was born out of my own reflection towards social phenomenon, but after his birth, he seems to have taken on a life of his own; at first he only has a simple flat face, but later different forms were derived, and it becomes more and more experimental, rich and complex"., Mr. DOB, who originally had only one big-eared face, has gradually evolved. With the artist experimenting with his signature face, from a bashful smile to a wide grin, sometimes revealing sharp teeth like a shark. With the popularity of the Japanese anime Pokémon all over the world, the artist fused the cartoon star Pikachu with Mr. DOB in his 1998 work Mr. DOB All Stars (Oh My The Mr. DOB), and the original Mr. DOB was later given Pikachu's tail in the shape of a lightning bolt. With the movement, the figure was filled with a sense of human and energetic feeling. The creation process of the whole body embodies the "increasingly rich and complex" life experience of the artist.

Takashi Murakami intends to explore the popularity of anime and manga culture among Japan's young people through his work. This phenomenon of indulging in fantasy is often over-glorified and has made a huge impact on the younger generation, with many of them being criticised for not growing up despite having reached adulthood.

However, anime and manga culture has become increasingly popular internationally in recent years, moving from sub-culture to the mainstream and becoming an international phenomenon. With fans no longer having to worry about being scrutinised by the public and finally being able to speak out for themselves. Mr. DOB subtly symbolises the permeability of culture, he visits and looks around curiously, moving from a superflat form into a three-dimensional living character. This is the first time that a full-sized figure of Mr. DOB to appear in the public secondary market, and while it is extremely rare, such a lovely figure is sure to become a new spot for fans and admirers to visit.

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1.

2.

1. 村上隆《小的藍色DOB》1993年作 Takashi Murakami, Small Blue DOB , 1993 2. 村上隆《DOB先生全明星（喔我的DOB先生）》1998年作 Takashi Murakami, Mr. DOB All Stars (Oh My The Mr. DOB) , 1998

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PROPERTY FROM A DISTINGUISHED ASIAN PRIVATE COLLECTION

亞洲頂尖私人收藏

30 TAKASHI MURAKAMI 村上隆 JAPANESE, B. 1962

Mr. DOB

DOB先生

Executed in 2019 fiberglass sculpture 130.3 x 81 x 157 cm. (51 1/2 x 32 x 61 3/4 in.)

2019 年作 玻璃纖維 雕塑

PROVENANCE

Gagosian Gallery, Hong Kong, China Acquired from the above by the present owner

HK$ 5,000,000 - 7,000,000 US$ 639,100 - 894,700 198

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來源

中國 香港 高古軒畫廊 現藏者購自上述來源

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日間拍賣 DAY SALE

Lots 101-216

101

EDGAR PLANS (SPANISH, B. 1977)

Jedi Gourmet 艾德加．普連斯 絕地武士美食家 Painted in 2019 mixed media on canvas 53.5 x 46.4 cm. (21 x 18 1/2 in.)

2019年作 綜合媒材 畫布

HK$ 320,000 - 500,000 US$ 41,000 - 64,100

102

ANDRÉ BUTZER (GERMAN, B. 1973)

Untitled 安德烈· 布策 無題 Painted in 2020 oil on canvas 81.9 x 49.5 cm. (32 x 19 1/2 in.) signed and dated 'A. Butzer, '20' (on the reverse) PROVENANCE Galerie Max Hetzler, London, UK Acquired from the above by the present owner 2020年作 油彩 畫布 款識：A. Butzer, '20（畫背） 來源 英國 倫敦 Max Hetzler畫廊 現藏者購自上述來源

HK$ 200,000 - 400,000 US$ 25,600 - 51,300

202

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KATHERINE BERNHARDT (AMERICAN, B. 1975) Gold Pepsi Eyes 凱瑟琳·伯恩哈特 黃金百事之眼 Executed in 2019 acrylic and spray paint on canvas 183 x 152.5 cm. (72 x 60 in.) titled, signed, dated and inscribed 'Gold Pepsi Eyes Katherine Bernhardt 2019 Garfield' (on the reverse) PROVENANCE Xavier Hufkens Gallery, Brussels, Belgium Acquired from the above by the present owner 2019年作 壓克力 噴漆 畫布 款識：Gold Pepsi Eyes Katherine Bernhardt 2019 Garfield（畫背） 來源 比利時 布魯塞爾 Xavier Hufkens畫廊 現藏者購自上述來源

HK$ 350,000 - 700,000 US$ 44,900 - 89,700

104

TANIA MARMOLEJO (DOMINICAN, B. 1975) The Double Seduction 塔尼亞．馬爾莫列霍 雙重誘惑 Painted in 2017 oil on linen 127 x 177.8 cm. (50 x 70 in.) signed and dated 'Tania Marmolejo 17' (lower right) This work is to be sold with a certificate of authenticity issued by Lyle. O Reitzel Gallery, Santo Domingo, Dominican Republic.

2017年作 油彩 亞麻布 款識：Tania Marmolejo 17（右下） 附多明尼加共和國 聖多明哥 Lyle O. Reitzel畫廊開立之 原作保證書

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

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105

RAFAEL MACARRÓN (SPANISH, B. 1981)

Niña 拉法．馬卡龍 尼娜 Painted in 2018 mixed media on canvas 227.5 x 144.6 cm. (89 1/2 x 57 in.) signed and dated 'RM 18' (lower right) PROVENANCE Private Collection, Asia

2018年作 綜合媒材 畫布 款識：RM 18（右下） 來源 亞洲 私人收藏 附台灣 台中 凡亞國際藝術有限公司開立之原作保證書

This work is to be sold with a certificate of authenticity issued by Fun Year National Art Co., Ltd., Taichung, Taiwan.

HK$ 800,000 - 1,600,000 US$ 102,600 - 205,100 204

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106

NIKKI (AMERICAN, B. 1996)

Untitled, Cat Girl; Untitled, Cat Girl; Untitled; Yes Sir You Just Can't Deny It; & Listen to Me You Fool 尼基 無題，貓娘；無題，貓娘；無題；是的，先生，您無法否認； 及笨蛋聽我說 Executed in 2021 five mixed media plates each: 41 cm. (16 in.) in diameter PROVENANCE Choi's Choice, Daegu, South Korea Acquired from the above by the present owner 2021年作 綜合媒材 盤子（共五件） 來源

南韓 大邱 Choi's Choice 現藏者購自上述來源

HK$ 80,000 - 150,000 US$ 10,300 - 19,200

107

JAVIER CALLEJA (SPANISH, B. 1971)

01980; & Mr. Eyes 哈維爾·卡列哈 01980；及眼睛先生 Painted in 2017 two watercolour and pencil on paper 10.5 x 10.5 cm. (4 x 4 in.); & 19.2 x 13 cm. (7 1/2 x 5 in.)

PROVENANCE NANZUKA, Tokyo, Japan Whitestone Gallery, Hong Kong, China Private Collection, Asia Ravenel Taipei, 1 December 2019, Lot 1 Acquired from the above sale by the present owner 2017年作 水彩 鉛筆 紙本（共兩件） 來源 日本 東京 NANZUKA 中國 香港 白石畫廊 亞洲 私人收藏 羅芙奧 台北 2019年12月1日 編號 1 現藏者購自上述拍賣

HK$ 300,000 - 500,000 US$ 38,500 - 64,100 MODERN AND CONTEMPORARY ART

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108

EDGAR PLANS (SPANISH, B. 1977)

Conejos 艾德加．普連斯 兔子 oil on board 33.5 x 24 cm. (13 x 9 1/2 in.) signed 'Plans' (lower left) PROVENANCE Bruno Trelles Gallery, Gijon, Spain Private Collection, Europe 油彩 木板 款識：Plans（左下） 來源 西班牙 希洪 Bruno Trelles畫廊 歐洲 私人收藏

HK$ 30,000 - 40,000 US$ 3,800 - 5,100

109

HUANG BENREI (CHINESE, B. 1959)

Mood Board: Spring 黄本蕊 一樣風景兩季心情：春天 Painted in 2019 acrylic on canvas 71 x 55.7 cm. (28 1/2 x 21 3/4 in.) signed and dated 'Benrei H. 2019' (lower right) EXHIBITED Taiwan, Taipei, Eslite Gallery, Shapes of Self-Reflection, 3-31 July, 2021.

LITERATURE Benrei Huang 2021, Eslite Corporation, Taipei, Taiwan, 2021 (illustrated, p. 54).

This work is to be sold with a certificate of authenticity signed by the artist, issued by Eslite Gallery, Taipei, Taiwan.

2019年作 壓克力 畫布 款識：Benrei H. 2019（右下） 展覽 2021年7月3-31日「隨省三姿」誠品畫廊 台北 台灣 出版 《黃本蕊 2021》誠品股份有限公司 台北 台灣 2021年（圖版，第54頁） 附台灣 台北 誠品畫廊開立之藝術家親簽原作保證書

HK$ 80,000 - 150,000 US$ 10,300 - 19,200 206

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110

HUANG BENREI (CHINESE, B. 1959)

A Season Too Late - 2 黄本蕊 平行時空裡遇見愛（之二） Painted in 2020 acrylic on canvas 71.5 x 56 cm. (28 1/2 x 22 in.) signed and dated 'Benrei H. 2020' (lower left) EXHIBITED Taiwan, Taipei, Eslite Gallery, Shapes of Self-Reflection, 3-31 July, 2021.

111

HUANG BENREI (CHINESE, B. 1959)

Nini 黄本蕊 尼尼 Executed in 2017 fiberglass sculpture edition: 5/6 92 x 107 x 200 cm. ( 36 x 42 x 78 1/2 in.) editioned and dated '5/6 2017'; signed in Chinese (on the left heel)

LITERATURE Benrei Huang 2021, Eslite Corporation, Taipei, Taiwan, 2021 (illustrated, p. 68).

EXHIBITED China, Suzhou, Eslite Spectrum Suzhou Store, In The Name Of Flower, 3-25 June, 2017 (alternate edition exhibited).

This work is to be sold with a certificate of authenticity signed by the artist, issued by Eslite Gallery, Taipei, Taiwan.

This work is to be sold with a certificate of authenticity signed by the artist, issued by Eslite Gallery, Taipei, Taiwan.

2020年作 壓克力 畫布 款識：Benrei H. 2020（左下）

2017年作 玻璃纖維 雕塑 版數：5/6 款識：5/6 黄本蕊 2017（左腳後跟）

展覽 2021年7月3-31日「隨省三姿」誠品畫廊 台北 台灣 出版 《黃本蕊 2021》誠品股份有限公司 台北 台灣 2021年（圖版，第68頁） 附台灣 台北 誠品畫廊開立之藝術家親簽原作保證書

HK$ 80,000 - 150,000 US$ 10,300 - 19,200

展覽 2017年6月3-25日「以花之名」誠品生活蘇州 蘇州 中國（展覽為另 一版數） 附台灣 台北 誠品畫廊開立之藝術家親簽原作保證書

HK$ 400,000 - 600,000 US$ 51,300 - 76,900 MODERN AND CONTEMPORARY ART

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112

ZHANG KAI (CHINESE, B. 1985)

The Beauty in Mind 張凱 那心中的美麗 Painted in 2012 oil on canvas 119.5 x 100 cm. (47 x 39 1/4 in.) signed 'ZK' (lower centre) one painted seal of the artist PROVENANCE Poly Beijing, 4 June 2016, Lot 6829 Acquired from the above sale by the present owner EXHIBITED China, Beijing, Triumph Art Space, Leave My World Here - Zhang Kai's Solo Exhibition, 19 January-28 February, 2013.

UK, London, Royal Collage of Art, China Now: Young Artist Duet - Zhang Kai & He Jie, 17-27 July, 2015.

China, Beijing, Triumph Art Space, Present-Zhang Kai Solo Exhibition, 23 June-31 July, 2018.

LITERATURE Never·Land, Triumph Art Space, Beijing, China, 2012 (illustrated, p. 35).

Leave My World Here, Triumph Art Space, Beijing, China, 2013 (illustrated, unpaginated).

China Now: Young Artist Duet Zhang Kai & He Jie, Triumph Art Space, Beijing, China, 2015 (illustrated, p. 43).

2012年作 油彩 畫布 款識：ZK（中下） 藝術家手繪鈐印：凱 來源 保利 北京 2016年6月4日 編號6829 現藏者購自上述拍賣 展覽 2013年1月19日-2月28日「把我的世界留在這兒—張凱個展」藝·凱 旋藝術空間 北京 中國 2015年7月17-27日「中國進行式─當代青年藝術家張凱＆何杰」英 國皇家藝術學院 倫敦 英國 2018年6月23日-7月31日「禮物—張凱個展」藝·凱旋藝術空間 北 京 中國 出版 《非·常境 青年藝術家聯展》藝·凱旋藝術空間 北京 中國 2012年 （圖版，第35頁） 《把我的世界留在這兒》藝·凱旋藝術空間 北京 中國 2013年（圖 版，無頁碼） 《中國進行式─當代青年藝術家張凱＆何杰》藝·凱旋藝術空間 北 京 中國 2015年（圖版，第43頁）

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

Lot 112

113

AI HAIBARA (JAPANESE, B. 1981)

Dog Lover; & Cat Lover 灰原愛 犬派；及貓派 Executed in 2019 two acrylic and camphorwood sculptures 19.5 x 20 x 57.5 cm. (7 1/2 x 7 3/4 x 22 1/2 in.); & 18 x 20 x 55 cm. (7 x 7 3/4 x 21 1/2 in.)

PROVENANCE Private Collection, Asia EXHIBITED Japan, Tokyo, Gallery Kogure, Ai Haibara Solo Exhibition- You At Some Time, 22-30 November, 2019.

The work is to be sold with a certificate of authenticity signed by the artist.

2019年作 壓克力 樟木 雕塑（共兩件） 來源 亞洲 私人收藏 展覽 2019年11月22-30日「灰原愛個展─在某個時候的你」Kogure美術館 東京 日本 附藝術家親簽原作保證書

HK$ 150,000 - 300,000 US$ 19,200 - 38,500 208

POLY AUCTION HONG KONG

114

ALEX FACE (THAI, B. 1981)

Black Tiger 安利克斯·菲斯 黑老虎 Executed in 2018 oil, acrylic and spray paint on canvas, artist's frame with frame: 35.5 x 43.7 x 3.5 cm. (14 x 17 x 1 1/2 in.) signed and dated '"Alex Face" 2018' (on the reverse); signed 'Alex Face' (on the stretcher) PROVENANCE Lei Xiang Gallery, Taipei, Taiwan Acquired from the above by the present owner This work is to be sold with a certificate of authenticity issued by Lei Xiang Gallery, Taipei, Taiwan.

2018年作 油彩 壓克力 噴漆 畫布 藝術家畫框 款識："Alex Face" 2018（畫背）；Alex Face（畫背內框） 來源 台灣 台北 雷相畫廊 現藏者購自上述來源 附台灣 台北 雷相畫廊開立之原作保證書

HK$ 50,000 - 100,000 US$ 6,400 - 12,800

Lot 113

115

EDDIE MARTINEZ (AMERICAN, B. 1977)

EMHK WOP4 艾迪· 馬丁尼茲 EMHK WOP4 Painted in 2019 acrylic and watercolour on paper 46.2 x 84 cm. (18 x 33 in.) signed and dated 'EM.19' (lower left) PROVENANCE Galerie Perrotin, Hong Kong, China Acquired from the above by the present owner

Lot 114

EXHIBITED China, Hong Kong, Galerie Perrotin, Eddie Martinez: EMHK19, 17 May-29 June, 2019.

2019年作 壓克力 水彩 紙本 款識：EM.19（左下） 來源 中國 香港 貝浩登畫廊 現藏者購自上述來源 展覽 2019年5月17日-6月29日「艾迪．馬丁尼茲：EMHK19」貝浩登畫廊 香港 中國

HK$ 180,000 - 260,000 US$ 23,100 - 33,300 Lot 115

MODERN AND CONTEMPORARY ART

209

116

EDDIE MARTINEZ (AMERICAN, B. 1977)

Blockhead Lamp 艾迪· 馬丁尼茲 方塊頭燈 Executed in 2020 stained glass and LED light sculpture edition: 92/100 13.5 x 14 x 15.5 cm. (5 1/2 x 5 1/2 x 6 in.) signed and editioned 'MARTINEZ. 092/100' (bottom) PROVENANCE Galerie Perrotin, Hong Kong, China Acquired from the above by the present owner This work is to be sold with a certificate of authenticity issued by AllRightsReserved; with original product box.

2020年作 彩色玻璃 發光二極體 雕塑 版數：92/100 款識：MARTINEZ. 092/100（底部） 來源 中國 香港 貝浩登畫廊 現藏者購自上述來源 附AllRightsReserved開立之原作保證書；及作品原裝盒

HK$ 140,000 - 180,000 US$ 17,900 - 23,100

117

CEET FOUAD (FRENCH, B. 1971)

Extazy 習福德 狂喜 Executed in 2013 mixed media on canvas 143 x 112 cm. (56 1/2 x 44 in.) signed, dated and titled 'Ceet 2013 "EXTAZY"' (on the reverse) EXHIBITED China, Hong Kong, Amanda Wei Gallery, Raining Colours, 1 September-1 October, 2017.

This work is to be sold with a certificate of authenticity signed by the artist and issued by Amanda Wei Gallery, Hong Kong, China.

2013年作 綜合媒材 畫布 款識：Ceet 2013 "EXTAZY"（畫背） 展覽 2017年9月1日-10月1日「雨後霞光」魏畫廊 香港 中國 附中國 香港 魏畫廊開立之藝術家親簽原作保證書

HK$ 80,000 - 110,000 US$ 10,300 - 14,100

210

POLY AUCTION HONG KONG

118

DAVID SHRIGLEY (BRITISH, B. 1968)

Untitled 大衛．史瑞格里 無題 Painted in 2021 acrylic on paper 76 x 56 cm. (30 x 22 in.)

PROVENANCE Stephen Friedman Gallery, London, UK Acquired from the above by the present owner 2021年作 壓克力 紙本 來源 英國 倫敦 Stephen Friedman畫廊 現藏者購自上述來源

HK$ 65,000 - 100,000 US$ 8,300 - 12,800

119

JOHN BAPTIST SEKUBULWA (UGANDAN, B. 1990) East Coast Ready 約翰·巴蒂斯特·塞庫布瓦 東海岸準備就緒 Painted in 2020 oil on canvas 150 x 140 cm. (59 x 55 in.) signed and dated 'Sekubulwa 20' (on the reverse) PROVENANCE Private Collection, Europe (Acquired directly from the artist by the present owner) EXHIBITED Uganda, Kampala, Afriart Gallery, Playing to the Gallery, 25 July-19 September, 2020.

2020年作 油彩 畫布 款識：Sekubulwa 20（畫背） 來源 歐洲 私人收藏（現藏者直接得自於藝術家） 展覽 2020年7月25日-9月19日「嘩衆取寵」Afriart畫廊 坎帕拉 烏干達

HK$ 40,000 - 60,000 US$ 5,100 - 7,700 MODERN AND CONTEMPORARY ART

211

120

ADRIANA OLIVER (SPANISH, B. 1990)

Portrait of 3 Sisters 阿德里安娜· 奧利弗 三姐妹肖像 Painted in 2019 acrylic on canvas 150 x 150 cm. (59 x 59 in.) titled, inscribed, signed and dated '"Portrait of 3 Sisters" 150 x 150 cm Acrylic on canvas Adriana Oliver 2019' (on the reverse)

121

CLAIRE TABOURET (FRENCH, B. 1981)

My Waves 克萊爾· 特伯萊 我的海浪 Painted in 2019 acrylic and ink on paper 139 x 107 cm. (54 1/2 x 42 in.) signed and dated 'C. TABOURET 19' (lower right)

PROVENANCE Galería Houssein Jarouche, São Paulo, Brazil Private Collection Private Collection, Asia

PROVENANCE Private Collection, Asia Private Collection Phillips Hong Kong, 28 May 2020, Lot 120 Acquired from the above sale by the present owner

EXHIBITED Brazil, São Paulo, Galería Houssein Jarouche, Solo Exhibition-All The Lonely People, 3-30 August, 2019.

EXHIBITED France, Nantes, HAB Galerie, Claire Tabouret: If Only The Sea Could Sleep, 6 July-15 September, 2019.

2019年作 壓克力 畫布 款識："Portrait of 3 Sisters" 150 x 150 cm Acrylic on canvas Adriana Oliver 2019（畫背）

2019年作 壓克力 水墨 紙本 款識：C. TABOURET 19（右下）

來源 巴西 聖保羅 Houssein Jarouche畫廊 私人收藏 亞洲 私人收藏

來源 亞洲 私人收藏 私人收藏 富藝斯 香港 2020年5月28日 編號 120 現藏者購自上述拍賣

展覽 2019年8月3-30日「所有寂寞的人個展」Houssein Jarouche畫廊 聖 保羅 巴西

展覽 2019年7月6日-9月15日「克萊爾·特伯萊：如果大海能沉睡」HAB 畫廊 南特 法國

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

HK$ 380,000 - 600,000 US$ 48,700 - 76,900

212

POLY AUCTION HONG KONG

122

GEORGE CONDO (AMERICAN, B. 1957)

The Boy with White Hat and Blue Eyes 喬治．康多 白帽子藍眼睛男孩 Painted in 1994-1995 oil on canvas 100 x 73 cm. (39 1/2 x 28 1/2 in.) signed and dated 'Condo 95' (upper right); signed, dated and titled 'Condo 1994 The Boy with White Hat and Blue Eyes' (on the reverse) PROVENANCE Pace Gallery, New York, USA Acquired from the above by the present owner

1994-1995年作 油彩 畫布 款識：Condo 95（右上）；Condo 1994 The Boy with White Hat and Blue Eyes（畫背） 來源 美國 紐約 佩斯畫廊 現藏者購自上述來源

HK$ 1,500,000 - 3,000,000 US$ 192,300 - 384,600 MODERN AND CONTEMPORARY ART

213

123

NEO RAUCH (GERMAN, B. 1960)

Mann auf dem Lande 尼奧．勞赫 鄉下人 Painted in 2002 oil on canvas 49.9 x 40 cm. (19 1/2 x 15 1/2 in.) signed and dated 'Rauch 02' (lower right); titled and inscribed 'Mann auf dem Lande WU. 408' (on the stretcher) PROVENANCE David Zwirner Gallery, New York, USA Collection of Melva Bucksbaum Family (Acquired from the above in 2004) Christie's New York, 16 November 2017, Lot 864 Acquired from the above sale by the present owner EXHIBITED Japan, Osaka, National Museum of Art, Essential Painting, OctoberDecember, 2006.

LITERATURE Essential Painting, National Museum of Art, Osaka, Japan, 2006 (illustrated, p. 120).

HK$ 800,000 - 1,600,000 US$ 102,600 - 205,100 214

POLY AUCTION HONG KONG

2002年作 油彩 畫布 款識：Rauch 02（右下）；Mann auf dem Lande WU. 408（畫背 內框） 來源 美國 紐約 卓納畫廊 Melva Bucksbaum家族舊藏（2004年直接購自上述來源） 佳士得 紐約 2017年11月16日 編號 864 現藏者購自上述拍賣 展覽 2006年10-12月「基本畫」國立國際美術館 大阪 日本 出版 《基本畫》國立國際美術館 大阪 日本 2006年（圖版，第120頁）

124

KAWS (AMERICAN, B. 1974)

NEVER CAN TELL KAWS 永遠不能說 Painted in 2010 acrylic on canvas 172 cm. (68 in.) in diameter signed and dated 'KAWS.. 10' (on the reverse) PROVENANCE Private Collection, Asia

2010 年作 壓克力 畫布 款識：KAWS..10（畫背） 來源 亞洲 私人收藏

HK$ 1,500,000 - 2,500,000 US$ 192,300 - 320,500 MODERN AND CONTEMPORARY ART

215

125

KAWS (AMERICAN, B. 1974)

UNTITLED (ORIGINAL FAKE SERIES) KAWS 無題（ORIGINAL FAKE 系列） Painted in 2002 acrylic on canvas in plastic bag with hangtag 15.2 x 12.7 cm. (6 x 5 in.) signed and dated 'KAWS.. 02' (on the stretcher) PROVENANCE SBI Art Auction Tokyo, 26 October 2019, Lot 159 Acquired from the above sale by the present owner 2002年作 壓克力 畫布 塑科包裝 款識：KAWS..02（畫背內框） 來源 SBI Art Auction 東京 2019年10月26日 編號 159 現藏者購自上述拍賣

HK$ 350,000 - 550,000 US$ 44,900 - 70,500 Lot 125

126

KAWS (AMERICAN, B. 1974) X ESTUDIO CAMPANA

KAWS: COMPANION Sofa (Grey) KAWS 及坎帕納工作室 KAWS：同伴沙發（灰） Executed in 2019 plush toys, stainless steel and cumaru wood edition: 2/8 plus 3APs and 1 prototype 177.8 x 99 x 81 cm. (70 x 39 x 32 in.)

PROVENANCE Friedman Benda Gallery, New York, USA Private Collection, Asia EXHIBITED Australia, Melbourne, The National Gallery of Victoria, KAWS: Companionship in the Age of Loneliness, 20 September, 2019-15 March, 2020 (alternate edition exhibited).

Lot 126

2019 年作 毛絨公仔 不鏽鋼 香二翅豆木 版數：2/8，3版藝術家試版及1版原型模板 來源 美國 紐約 Friedman Benda 畫廊 亞洲 私人收藏

LITERATURE KAWS: Companionship in the Age of Loneliness, National Gallery of Victoria, Melbourne, Australia, 2019 (alternate edition illustrated, pp. 236 & 323).

展覽 2019年9月20日-2020年3月15日「KAWS: 孤獨時代的陪伴」維多利 亞國家美術館 墨爾本 澳洲（展覽為另一版數）

HK$ 700,000 - 1,000,000 US$ 89,700 - 128,200

出版 《KAWS：孤單年代的同伴》維多利亞國立美術館 墨爾本 澳洲 2019 年（圖版為另一版數，第236及323頁）

216

POLY AUCTION HONG KONG

127

KAWS (AMERICAN, B. 1974)

Three separate works: LOST TIME; ALONE AGAIN; & FAR FAR DOWN KAWS 三件作品：失去的時間；又是一個人；及遠在深淵 Execued in 2018 three screenprints edition: AP 27/100 plus 20 APs each: 81.2 x 135 cm. (32 x 53 1/4 in.) editioned, signed and dated '27 100 KAWS..18' (bottom of each) PROVENANCE Pace Prints, New York, USA Private Collection, Asia Acquired from the above by the present owner EXHIBITED USA, New York, Brooklyn Museum, KAWS: What Party, 26 February-5 September, 2021 (alternate edition exhibited).

LITERATURE KAWS: What Party, Phaidon Press, New York, USA, 2021 (alternate edition illustrated, unpaginated).

2018年作 絲網 版畫（共三件） 版數：藝術家試版 27/100及20版藝術家試版 款識：27/100 KAWS..18（每件底部） 來源 美國 紐約 佩斯版畫 亞洲 私人收藏 現藏者得自上述來源 展覽 2021年2月26日-9月5日「KAWS：甚麽派對」布魯克林博物館 紐約 美國（展覽為另一版數） 出版 《KAWS：甚麽派對》費頓出版社 紐約 美國 2021年（圖版為另 一版數，無頁碼）

HK$ 300,000 - 600,000 US$ 38,500 - 76,900

128

KAWS (AMERICAN, B. 1974)

Three separate works: KAWSBOB (RED); KAWSBOB (BLACK); & KAWSBOB (YELLOW) KAWS 三件作品：KAWSBOB（紅）；KAWSBOB（黑）；及KAWSBOB（黃） Executed in 2011 three screenprints edition: 30/100; 38/100; & 32/100 plus 20 APs each: 50.8 x 50.8 cm. (20 x 20 in.)

1. Red: editioned, signed and dated '30/100 KAWS.. 11' (bottom); 2. Black: editioned, signed and dated '38/100 KAWS.. 11' (bottom); & 3. Yellow: editioned, signed and dated '32/100 KAWS.. 11' (bottom)

2011年作 絲網 版畫（共三件） 版數：30/100；38/100；及32/100及20版藝術家試版 款識： 1.《紅》30/100 KAWS.. 11（底部）； 2.《黑》38/100 KAWS.. 11（底部）；及 3.《黃》32/100 KAWS.. 11（底部） 來源 亞洲 私人收藏

PROVENANCE Private Collection, Asia

HK$ 150,000 - 250,000 US$ 19,200 - 32,100 MODERN AND CONTEMPORARY ART

217

129

MADSAKI (JAPANESE, B. 1974)

Untitled MADSAKI 無題

130

IZUMI KATO (JAPANESE, B. 1969)

Untitled 加藤泉 無題

Executed in 2017 spraypaint, acrylic and glitter powder on canvas 40 x 40 cm. (15 1/2 x 15 1/2 in.) signed and dated 'madsaki 2017' (on the reverse)

Painted in 2005 oil on canvas 33.5 x 33.5 cm. (13 x 13 in.) dated, inscribed and signed '2005 oil on canvas 33.3 x 33.3 cm (54) Kato'; signed in Japanese (on the reverse)

PROVENANCE Private Collection, Asia

PROVENANCE Galleria Enrico Astuni, Bologna, Italy Private Collection Private Collection, Asia

2017年作 噴漆 壓克力 閃粉 畫布 款識：madsaki 2017（畫背） 來源 亞洲 私人收藏

HK$ 100,000 - 200,000 US$ 12,800 - 25,600

EXHIBITED Italy, Pietrasanta, Galleria Enrico Astuni, Izumi Kato, 17 December, 200518 February, 2006.

LITERATURE Izumi Kato, Galleria Enrico Astuni, Bologne, Italy, 2006 (illustrated, p. 48).

2005年作 油彩 畫布 款識：2005 oil on canvas 33.3 x 33.3 cm (54) Kato 泉（畫背） 來源 義大利 博洛尼亞 Enrico Astuni畫廊 私人收藏 亞洲 私人收藏 展覽 2005年12月17日-2006年2月18日「加藤泉」Enrico Astuni畫廊 皮耶 特拉桑塔 義大利 出版 《加藤泉》Enrico Astuni畫廊 博洛尼亞 義大利 2006年（圖版，第48頁）

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

218

POLY AUCTION HONG KONG

131

ATSUSHI KAGA (JAPANESE, B. 1978)

Bodies are Immortal: Souls are Not 加賀温 身體是不朽的：靈魂卻不是 Painted in 2018-2021 acrylic on board 40 x 30 cm. (15 1/2 x 12 in.) signed 'Atsushi' (on the reverse) EXHIBITED Japan, Tokyo, Maho Kubota Gallery, It Always Comes; A Solace in the Cat, 10 September-9 October, 2021.

2018-2021年作 壓克力 木板 款識：Atsushi（畫背） 展覽 2021年9月10日-10月9日「It Always Comes; A Solace in the Cat」 Maho Kubota畫廊 東京 日本

HK$ 100,000 - 200,000 US$ 12,800 - 25,600

132

HSI SHIH-PIN (CHINESE, B. 1977)

Bear-Rabbit, Astrology, Explorer 席時斌 熊兔，星象，探險者 Executed in 2022 stainless steel, amethyst and rose quartz sculpture edition: 1/6 137 x 80 x 116 cm. (54 x 31 1/2 x 45 1/2 in.)

PROVENANCE Private Collection, Asia This work is to be sold with a certificate of authenticity issued by Soka Art, Taipei, Taiwan.

2022年作 不鏽鋼 紫水晶 粉水晶 雕塑 版數：1/6 來源 亞洲 私人收藏 附台灣 台北 索卡藝術開立之原作保證書

HK$ 250,000 - 500,000 US$ 32,000 - 63,900

MODERN AND CONTEMPORARY ART

219

133

MR. DOODLE (BRITISH, B. 1994)

Pyramid Climb 塗鴉先生 金字塔攀登 Executed in 2021 acrylic and spray paint on canvas 170 x 120 cm. (67 x 47 1/4 in.) signed and dated 'MR DOODLE! 2021' (lower right) PROVENANCE Pearl Lam Galleries, Hong Kong, China Acquired from the above by the present owner 2021年作 壓克力 噴漆 畫布 款識：MR DOODLE! 2021（右下） 來源 中國 香港 藝術門 現藏者購自上述來源

HK$ 500,000 - 1,000,000 US$ 64,100 - 128,200

134

MR. DOODLE (BRITISH, B. 1994)

Square from Old Street 塗鴉先生 舊街方塊 Painted in 2017 six arcylic on paper 36.1 x 49.7 cm. (14 x 19 1/2 in.); 35.5 x 51.4 cm. (14 x 20 in.); 36 x 51 cm. (14 x 20 in.); 36 x 51.3 cm. (14 x 20 in.); 35.5 x 51.8 cm. (14 x 20 1/2 in.); & 34.8 x 50.4 cm. (13 1/2 x 20 in.) signed 'MR DOODLE!' (lower right of each) PROVENANCE Acquired directly from the artist in 2017 EXHIBITED UK, London, Old Street Underground Station, Mr Doodle, 2017.

2017年作 壓克力 紙本（共六件） 款識：MR DOODLE!（每件右下） 來源 2017年直接得自於藝術家 展覽 2017年「Mr Doodle」倫敦舊街地鐵站 倫敦 英國

HK$ 120,000 - 180,000 US$ 15,400 - 23,100 220

POLY AUCTION HONG KONG

135

MR. DOODLE (BRITISH, B. 1994)

Doodlings 塗鴉先生 塗鴉

136

ZHANG YINGNAN (CHINESE, B. 1981)

Poplar 張英楠 白楊

Painted in 2019 four sets of acrylic on canvas (quadriptych) each: 15 x 15 cm. (6 x 6 in.) overall: 60 x 60 cm. (23 1/2 x 23 1/2 in.) signed and dated 'MR DOODLE! 2019' (on the reverse of each)

Painted in 2020 oil on canvas 150 x 150 cm. (59 x 59 in.) titled, inscribed and signed in Chinese; inscribed and dated '150 cm x 150 cm 2020' (on the reverse)

2019年作 壓克力 畫布（共四組四聯作） 款識：MR DOODLE! 2019（每件畫背）

PROVENANCE Private Collection, Asia

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

This work is to be sold with a certificate of authenticity issued by Soka Art, Taipei, Taiwan.

2020年作 油彩 畫布 款識： 白楊 150 cm x 150 cm 畫布 油畫 2020 張英楠（畫背） 來源 亞洲 私人收藏 附台灣 台北 索卡藝術開立之原作保證書

HK$ 150,000 - 250,000 US$ 19,200 - 32,100 MODERN AND CONTEMPORARY ART

221

137

HUANG YUXING (CHINESE, B. 1975)

Treasure in the River 黃宇興 河流中的寶藏 Painted in 2013 acrylic on canvas 45.5 x 65 cm. (18 x 25 1/2 in.) signed and dated 'H. Yuxing 13' (lower right)

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

222

POLY AUCTION HONG KONG

2013年作 壓克力 畫布 款識：H. Yuxing 13（右下）

138

ZHANG ENLI (CHINESE, B. 1965)

The Trees in Autumn 3 張恩利 秋天的樹3 Painted in 2013 oil on canvas 180 x 200 cm. (71 x 78 1/2 in.) dated '2013'; signed in Chinese (lower right); inscribed and signed in Chinese; inscribed and dated '180 x 200 cm 2013' (on the reverse) PROVENANCE ShanghART, Shanghai, China Acquired from the above by the present owner

2013年作 油彩 畫布 款識：2013 恩利（右下）；秋 180 x 200 cm 2013 張恩利（畫背） 來源 中國 上海 香格納畫廊 現藏者購自上述來源

HK$ 2,000,000 - 3,000,000 US$ 256,400 - 384,600 MODERN AND CONTEMPORARY ART

223

139

LIU XIAODONG (CHINESE, B. 1963)

Childhood Memories-Big Valley 劉小東 童年的記憶─大草溝 Painted in 2005 oil on canvas 200 x 200 cm. (78 1/2 x 78 1/2 in.) signed in Chinese; dated '05.' (lower left); titled and signed in Chinese; inscribed, dated and signed '200 x 200 cm 2005 Liu xiao dong 05' (on the reverse)

HK$ 1,200,000 - 1,800,000 US$ 153,800 - 230,800 224

POLY AUCTION HONG KONG

2005年作 油彩 畫布 款識：小東 05.（左下）；大草溝 200 x 200 cm 2005 Liu xiao dong 小東 05（畫背）

140

LI SONGSONG (CHINESE, B. 1973)

Red Flag 李松松 紅旗 Painted in 2009 oil on canvas (diptych) each: 160.5 x 280.4 cm. (63 x 110 1/2 in.) overall: 321 x 280.4 cm. (126 1/2 x 110 1/2 in.) signed in Chinese; signed 'Li Songsong 2009' (on the reverse of each panel) PROVENANCE Private Collection, Asia EXHIBITED China, Beijing, Pace Gallery, Abstract, 28 November, 2009-30 January, 2010.

2009年作 油彩 畫布（雙聯作） 款識：李松松 Li Songsong 2009（每件畫背） 來源 亞洲 私人收藏 展覽 2009年11月28日-2010年1月30日「抽象」佩斯畫廊 北京 中國 出版 《李松松 抽象》佩斯畫廊 北京 中國 2009年（圖版，第19頁）

LITERATURE Li Songsong Abstract, Pace Gallery, Beijing, China, 2009 (illustrated, p. 19).

HK$ 2,000,000 - 3,000,000 US$ 256,400 - 384,600 MODERN AND CONTEMPORARY ART

225

141

HE DUOLING (CHINESE, B. 1948)

A Youngling Portrait 何多苓 女青年肖像 Painted in 1984 oil on canvas 77.5 x 53 cm. (30 1/2 x 21 in.) dated and signed '84 He Duoling' (lower right) PROVENANCE China Guardian Beijing, 25 November 2003, Lot 0061 Beijing ChengXuan, 7 November 2005, Lot 0259 Acquired from the above sale by the present owner

HK$ 800,000 - 1,200,000 US$ 102,600 - 153,800 226

POLY AUCTION HONG KONG

1984年作 油彩 畫布 款識：84 He Duoling（右下） 來源 中國嘉德 北京 2003年11月25日 編號0061 北京誠軒 2005年11月7日 編號0259 現藏者購自上述拍賣

142

LUO ZHONGLI (CHINESE, B. 1948)

Mother and Son 羅中立 母與子 Painted in 2000 oil on canvas 130 x 105 cm. (51 x 41 1/2 in.) signed in Chinese; dated '2000' (lower right) PROVENANCE Rongbao Auction Beijing, 26 November 2005, Lot 866 Acquired from the above sale by the present owner

2000年作 油彩 畫布 款識：中立 2000（右下） 來源 榮寶 北京 2005年11月26日 編號 866 現藏者購自上述拍賣

HK$ 1,500,000 - 2,500,000 US$ 192,300 - 320,500

MODERN AND CONTEMPORARY ART

227

143

MAO YAN (CHINESE, B. 1968)

Thomas No. 5 毛焰 托馬斯 5號 Painted in 2002 oil and pastel on paper 105.5 x 75 cm. (41 1/2 x 29 1/2 in.) dated and signed '2002 9 Maoyan' (lower right) 2002年作 油彩 粉彩 紙本 款識：2002 9 Maoyan（右下）

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

144

LIU WEI (CHINESE, B. 1965)

White Scenery 劉煒 白色風景 Painted in 2013 oil on board, in frame painted by the artist with frame: 47.5 x 57.5 x 6 cm. (18 1/2 x 22 1/2 x 2 1/4 in.) signed in Chinese; signed and dated 'Liu wei 2013' (lower centre) 2013年作 油彩 木板 藝術家手繪框 款識：劉煒 Liu wei 2013（中下）

HK$ 700,000 - 1,000,000 US$ 89,700 - 128,200 Lot 143

Lot 144

228

POLY AUCTION HONG KONG

145

ZHOU CHUNYA (CHINESE, B. 1955)

Peach Blossom 周春芽 桃花 Painted in 2006 oil on canvas 120 x 150 cm. (47 x 59 in.) dated and signed '2006 Zhou Chunya'; signed in Chinese (lower right) PROVENANCE Xiling Yinshe Auction Hangzhou, 16 July 2017, Lot 3246 Acquired from the above sale by the present owner

2006年作 油彩 畫布 款識：2006 周春芽 Zhou Chunya（右下） 來源 西冷印社 杭州 2017年7月16日 編號 3246 現藏者購自上述拍賣

HK$ 2,500,000 - 3,500,000 US$ 320,500 - 448,700 MODERN AND CONTEMPORARY ART

229

146

TAN PING (CHINESE, B. 1960)

Untitled 譚平 無題 Painted in 2019 acrylic on canvas 80.5 x 100 cm. (31 3/4 x 39 1/4 in.) dated and signed '2019 Tan Ping' (lower right) 2019年作 壓克力 畫布 款識：2019 Tan Ping（右下）

HK$ 200,000 - 400,000 US$ 25,600 - 51,300

147

ZHAO ZHAO (CHINESE, B. 1982)

Sky 趙趙 天空 Painted in 2014 oil on canvas 250 x 250 cm. (98 1/2 x 98 1/2 in.)

PROVENANCE Private Collection, Asia This work is to be sold with a certificate of authenticity signed by the artist.

2014年作 油彩 畫布 來源 亞洲 私人收藏 附藝術家親簽之原作保證書

HK$ 300,000 - 800,000 US$ 38,500 - 102,600

230

POLY AUCTION HONG KONG

148

DING YI (CHINESE, B. 1962)

Appearance of Crosses 2008-15 丁乙 十示 2008-15 Painted in 2008 crayon and charcoal on canvas 120 x 100 cm. (47 x 39 1/2 in.) signed and dated 'Ding Yi 2008' (lower right); titled, signed and dated '"Apperance of Crosses 2008-15" Ding Yi 2008.' (on the reverse) PROVENANCE Private Collection, Asia EXHIBITED Germany, Cologne, Galerie Karsten Greve, Ding Yi, Recent Works, MayJuly, 2008.

2008年作 蠟筆 炭筆 畫布 款識：Ding Yi 2008（右下）；"Appearance of Crosses 2008-15" Ding Yi 2008.（畫背） 來源 亞洲 私人收藏 展覽 2008年5-7月「丁乙，近期作品」Karsten Greve畫廊 科隆 德國

HK$ 800,000 - 1,200,000 US$ 102,600 - 153,800 MODERN AND CONTEMPORARY ART

231

149

DING YI (CHINESE, B. 1962)

Appearance of Crosses 96-B2 丁乙 十示 96-B2 Painted in 1996 mixed media on paper 52 x 68.5 cm. (20 1/2 x 27 in.) titled and dated 'Appearance of Crosses 96-B2 1996.'; signed in Chinese (bottom) PROVENANCE Christie's Hong Kong, 5 October 2014, Lot 64 Acquired from the above sale by the present owner

HK$ 150,000 - 250,000 US$ 19,200 - 32,100 232

POLY AUCTION HONG KONG

1996年作 綜合媒材 紙本 款識：Appearance of Crosses 96-B2丁乙 1996.（底部） 來源 佳士得 香港 2014年10月5日 編號64 現藏者購自上述拍賣

150

LIU WEI (CHINESE, B. 1972)

Untitled 劉韡 無題 Painted in 2019 oil on canvas 150 x 180 cm. (59 x 70 3/4 in.) signed in Chinese; signed and dated 'Liu Wei 2019' (on the reverse)

2019年作 油彩 畫布 款識：劉韡 Liu Wei 2019（畫背）

HK$ 1,600,000 - 2,400,000 US$ 205,100 - 307,700

MODERN AND CONTEMPORARY ART

233

151

HIROYUKI MATSUURA (JAPANESE, B. 1964)

152

SATORU KOIZUMI (JAPANESE, B. 1983)

Ducky Brigade (Happy Ever After)

Without Bucket 小泉悟 空桶

松浦浩之 鴨子軍隊（永遠快樂） Painted in 2009 a set of three acrylic on canvas 116.7 x 116.7 cm. (46 x 46 in.); 43 x 42.5 cm. (16 3/4 x 16 3/4 in.); & 33 x 32.5 cm. (13 x 12 3/4 in.) signed and dated 'Hiroyuki Matsuura 2009.1.5.' (on the reverse of each)

Executed in 2020 fiberglass sculpture edition: 5/5 67 x 93 x 152 cm. (26 1/2 x 36 1/2 x 60 in.)

PROVENANCE Tokyo Gallery + BTAP, Tokyo, Japan Acquired from the above by the present owner EXHIBITED Japan, Tokyo, Tokyo Gallery + BTAP, Super Acrylic Skin-Sweet Addiction, 1-25 September, 2010.

2009年作 壓克力 畫布（一組共三件） 款識：Hiroyuki Matsuura 2009.1.5.（每件畫背） 來源 日本 東京 東京畫廊+BTAP 現藏者購自上述來源 展覽 2010年9月1-25日「超級壓克力皮膚─甜蜜成癮」東京畫廊+BTAP 東京 日本

HK$ 150,000 - 200,000 US$ 19,200 - 25,600 234

POLY AUCTION HONG KONG

PROVENANCE Private Collection, Asia EXHIBITED China, Beijing, M Woods Hutong, Kawaii Art Exhibition, 31 October-15 November, 2020 (alternate edition exhibited).

China, Shanghai, TX Huaihai, Kawaii Art Exhibition, 4-6 December, 2020 (alternate edition exhibited).

This work is to be sold with a certificate of authenticity signed by the artist and issued by APPortfolio; with original product box.

2020年作 玻璃纖維 雕塑 版數：5/5 來源 亞洲 私人收藏 展覽 2020年10月31日-11月15日「萌愛藝術展」木木藝術社區 北京 中國 （展覽為另一版數） 2020年12月4-6日「萌愛藝術展」TX淮海 上海 中國（展覽為另一版數） 附APPortfolio開立之藝術家親簽原作保證書；及作品原裝盒

HK$ 250,000 - 500,000 US$ 32,100 - 64,100

153

YOSHITOMO NARA (JAPANESE, B. 1959)

Untitled 奈良美智 無題 Painted in 2000 pastel and coloured pencil on paper 28.7 x 20.5 cm. (11 1/2 x 8 in.) signed in Japanese; dated '2000' (lower right) PROVENANCE Collection of Matthew Sweet Sotheby's Hong Kong, 4 April 2011, Lot 981 Acquired from the above sale by the present owner

2000年作 粉彩 彩色鉛筆 紙本 款識：なら 2000（右下） 來源 馬修．史威特收藏 蘇富比 香港 2011年4月4日 編號 981 現藏著購自上述拍賣

HK$ 1,200,000 - 2,000,000 US$ 153,800 - 256,400 MODERN AND CONTEMPORARY ART

235

154

YOSHITOMO NARA (JAPANESE, B. 1959)

No Weapon 奈良美智 拒絕武器 Painted in 2003 coloured pencil on envelope 23.8 x 33 cm. (9 1/2 x 13 in.)

PROVENANCE Galerie Meyer Kainer, Vienna, Austria Sotheby's London, 27 June 2018, Lot 118 Acquired from the above sale by the present owner LITERATURE Yoshitomo Nara: The Complete Works Volume 2–Works on Paper, Bijutsu Shuppan Sha, Tokyo, Japan, 2011 (illustrated, plate D-2003-100, p. 207).

HK$ 750,000 - 1,000,000 US$ 96,200 - 128,200 236

POLY AUCTION HONG KONG

2003 年作 彩色鉛筆 信封 來源 Meyer Kainer 畫廊 維也納 奧地利 蘇富比 倫敦 2018年6月27日 編號 118 現藏者購自上述拍賣 出版 《奈良美智：作品全集 第2卷─紙本上作品》株式會社美術出版社 東京 日本 2011年（圖版，第 D-2003-100圖，第207頁）

155

YOSHITOMO NARA (JAPANESE, B. 1959)

Untitled 奈良美智 無題

156

YOSHITOMO NARA (JAPANESE, B. 1959)

Untitled 奈良美智 無題

marker on fabric, laid on paper 18 x 8 cm. (7 x 3 in.)

marker on fabric, laid on paper 19.8 x 10.7 cm. (8 x 4 in.)

PROVENANCE Mainichi Auction Inc Tokyo, 19 June 2021, Lot 720 Acquired from the above sale by the present owner

PROVENANCE Mainichi Auction Inc Tokyo, 19 June 2021, Lot 721 Acquired from the above sale by the present owner

馬克筆 布 裱於紙本

馬克筆 布 裱於紙本

來源 每日拍賣 東京 2021年6月19日 編號 720 現藏者購自上述拍賣

來源 每日拍賣 東京 2021年6月19日 編號 721 現藏者購自上述拍賣

HK$ 80,000 - 150,000 US$ 10,300 - 19,200

HK$ 80,000 - 150,000 US$ 10,300 - 19,200

MODERN AND CONTEMPORARY ART

237

157

SADAMASA MOTONAGA (JAPANESE, 1922-2011) Kino 元永定正 Kino Painted in 1972 acrylic on canvas 65 x 65 cm. (25 1/2 x 25 1/2 in.) signed and dated 'S.Motonaga '72' (lower right); inscribed, titled, dated and signed 'TOP KINO 1972 S. Motonaga'; titled and signed in Japanese (on the reverse) PROVENANCE SBI Art Auction Tokyo, 27 July 2019, Lot 191 Private Collection Acquired from the above sale by the present owner This work is to be sold with a certificate of authenticity issued by Motonaga Archive Research Ltd. 1972年作 壓克力 畫布 款識：S.Motonaga '72（右下）；TOP KINO キノ 1972 元永 定正 S. Motonaga（畫背） 來源 SBI藝術拍賣 東京 2019年7月27日 編號 191 私人收藏 現藏者購自上述拍賣 附元永定正檔案研究室開立之原作保證書

HK$ 140,000 - 240,000 US$ 17,900 - 30,800

158

SADAMASA MOTONAGA (JAPANESE, 1922-2011) Yellow-Green Away 元永定正 黃綠相間 Painted in 1993 acrylic on canvas 24.8 x 34 cm. (10 x 13 1/2 in.) signed and dated 'S.Motonaga '93' (lower right) PROVENANCE Private Collection, Asia This work is to be sold with a certificate of authenticity issued by Motonaga Archive Research Ltd. 1993年作 壓克力 畫布 款識：S.Motonaga '93（右下） 來源 亞洲 私人收藏 附元永定正檔案研究室開立之原作保證書

HK$ 50,000 - 80,000 US$ 6,400 - 10,300 238

POLY AUCTION HONG KONG

159

KIM TSCHANG-YEUL (KOREAN, 1929-2021)

SP 05001 金昌烈 SP 05001 Painted in 2003 oil on canvas 130 x 194.5 cm. (51 1/2 x 76 1/2 in.) titled, dated and signed 'SP 05001 2003 T.Kim'; signed in Korean (side of canvas) PROVENANCE Gallery Godo, Seoul, South Korea Acquired from the above by the present owner

2003年作 油彩 畫布 款識：SP 05001 2003 T.Kim 金昌烈（畫布側邊） 來源 韓國 首爾 Godo畫廊 現藏者購自上述來源

HK$ 800,000 - 1,600,000 US$ 102,600 - 205,100 MODERN AND CONTEMPORARY ART

239

160

YE NAN (CHINESE, B. 1984)

Only the Greatest Nations Understand the Secret 葉楠 偉大的種族才能接近那個秘密 Painted in 2011 mixed media and oil on canvas 189.5 x 160.5 cm. (74 1/2 x 63 in.) signed and titled in Chinese; dated '2011' (side of canvas) PROVENANCE Private Collection, Asia 2011年作 綜合媒材 油彩 畫布 款識：葉楠 2011. 偉大的種族才能接近那個秘密（畫布側邊） 來源 亞洲 私人收藏

HK$ 40,000 - 80,000 US$ 5,100 - 10,300

161

XU HONGXIANG (CHINESE, B. 1984)

Beautiful Scenery No. 21 許宏翔 好風景NO.21 Painted in 2020 oil on canvas 200 x 160 cm. (78 1/2 x 63 in.) signed in Chinese; dated '2020' (on the reverse) EXHIBITED China, Wuhan, Hubei Museum of Art, An Exuberant View, 12 March-16 May, 2021.

LITERATURE An Exuberant View, Hubei Museum of Art, Wuhan, China; & Triumph Art Space, Beijing, China, 2013 (illustrated, p. 32).

2020年作 油彩 畫布 款識：許宏翔 2020（畫背） 展覽 2021年3月12日-5月16日「熱土野望」湖北美術館 武漢 中國 出版 《熱士野望》湖北美術館 武漢 中國；及藝·凱旋藝術空間 北京 中國 2013年（圖版，第32頁）

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

240

POLY AUCTION HONG KONG

162

WANG YIN (CHINESE, B. 1964)

Untitled 王音 無題 oil on canvas 36 x 52.5 cm. (14 1/4 x 20 3/4 in.) signed in Chinese (lower right) 油彩 畫布 款識：王音（右下）

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

163

ZHANG HUI (CHINESE, B. 1968)

Questionable Paintings - Scenery No. 2 張慧 可疑的繪畫—風景No.2 Painted in 2008 oil on canvas 190 x 190 cm. (75 x 75 in.) signed in Chinese; dated '2008' (lower right) PROVENANCE A Thousand Plateaus Art Space, Chengdu, China Acquired from the above by the present owner EXHIBITED China, Chengdu, A Thousand Plateaus Art Space, Obstruction, 28 July-30 September, 2009.

2008年作 油彩 畫布 款識：張慧 2008（右下） 來源 中國 成都 千高原畫廊 現藏者購自上述來源 展覽 2009年7月28日-9月30日「物之屏」千高原藝術空間 成都 中國

HK$ 250,000 - 350,000 US$ 32,100 - 44,900 MODERN AND CONTEMPORARY ART

241

164

YAN PING (CHINESE, B. 1956)

The Beach 閆平 沙灘 oil on canvas 60 x 80 cm. (23 1/2 x 31 1/2 in.) 油彩 畫布

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

165

SHI HU (CHINESE, B. 1942)

Untitled

石虎 無題 oil on canvas 67.9 x 92.5 cm. (26 1/2 x 36 1/2 in.) signed in Chinese (lower left) PROVENANCE Private Collection, Asia (acquired directly from the artist) 油彩 畫布 款識：石虎（左下） 來源 亞洲 私人收藏（直接得自於藝術家）

HK$ 100,000 - 200,000 US$ 12,800 - 25,600

242

POLY AUCTION HONG KONG

166

PANG JIUN (CHINESE, PANG JUN, B. 1936)

Ancient Alley 龎均 江南古巷 Painted in 2006 oil on canvas 72 x 60 cm. (28 1/2 x 23 1/2 in.) signed in Chinese; dated '2006' (lower right) one painted seal of the artist PROVENANCE GSR Galley, Taichung, Taiwan Acquired from the above by the present owner

2006年作 油彩 畫布 款識：龎均 2006（右下） 藝術家手繪鈐印：均 來源 台灣 台中 由鉅藝術中心 現藏者購自上述來源 附台灣 台中 由鉅藝術中心開立之原作保證書

This work is to be sold with a certificate of authenticity issued by GSR Galley, Taichung, Taiwan.

HK$ 200,000 - 400,000 US$ 25,600 - 51,300 MODERN AND CONTEMPORARY ART

243

167

LIU GUOSONG (CHINESE, B. 1932)

Moon behind Sun 劉國松 太陽的背面是月亮 Executed in 2007 mixed media on paper 102.7 x 93 cm. (40 1/2 x 36 1/2 in.) signed and dated in Chinese (lower left); signed and titled in Chinese; dated and inscribed '2007 102.5 x 92.5 cm' (on the reverse) one seal of the artist PROVENANCE Private Collection JSL Taipei, 8 December 2013, Lot 99 Acquired from the above sale by the present owner EXHIBITED Taiwan, Taipei, Capital Art Center, The Paintings of Liu Kuosung, 2008.

LITERATURE The Paintings of Liu Kuosung, Capital Art Center Corporation, Taipei, Taiwan, 2008 (illustrated, unpaginated).

Liu Kuo-Sung: New Works in the 21st Century, Cultural Affairs Department, New Taipei City Government, Taipei, Taiwan, 2010 (illustrated, p. 57).

HK$ 1,100,000 - 2,000,000 US$ 141,000 - 256,400 244

POLY AUCTION HONG KONG

2007年作 綜合媒材 紙本 款識：劉國松 二〇〇七（左下）；劉國松作 太陽的背面是月亮 2007 102.5 x 92.5 cm.（畫背） 鈐印：劉國松 來源 私人收藏 景薰樓 台北 2013年12月8日 編號 99 現藏者購自上述拍賣 展覽 2008年「突兀．夢幻．蛻變 劉國松個展」首都藝術中心 台北 台灣 出版 《突兀．夢幻．蛻變 劉國松個展》首都藝術事業有限公司 台北 台灣 2008年（圖版，無頁碼） 《劉國松─21世紀新作展》台北縣政府文化局 台北 台灣 2010年 （圖版，第57頁）

168

LIU GUOSONG (CHINESE, LIU KUO-SUNG, B. 1932) Emerging Light 劉國松 現出了光 Executed in 1972 ink, colour and collage on paper 36.5 x 91.5 cm. (14 1/4 x 35 3/4 in.) signed and dated in Chinese (lower right) two seals of the artist PROVENANCE Former Collection of The Denver Art Museum, Denver, USA Private Collection, USA 1972 年作 水墨 設色 拼貼 紙本 款識：劉國松 一九七二（右下） 鈐印：劉、益都劉國松印 來源 美國 丹佛 丹佛美術館舊藏 美國 私人收藏

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

169

HSIAO CHIN (CHINESE, B. 1935)

Realization of Soul 蕭勤 天靈之體現 Painted in 1996 arcylic on canvas 100 x 130 cm. (39 1/2 x 51 in.)

PROVENANCE Private Collection Christie's Hong Kong, 25 May 2008, Lot 297 Acquired from the above sale by the present owner EXHIBITED Taiwan, Taipei, Lin & Keng Gallery, Group Exhibition of Abtraction, 2006.

1996年作 壓克力 畫布 來源 私人收藏 佳士得 香港 2008年5月25日 編號 297 現藏者購自上述拍賣 展覽 2006年「抽象藝術群展」大未來林舍畫廊 台北 台灣

HK$ 300,000 - 500,000 US$ 38,500 - 64,100 MODERN AND CONTEMPORARY ART

245

170

CHUANG CHE (CHINESE, B. 1934)

80-10 莊喆 80-10 Painted in 1980 acrylic on canvas 121.5 x 90 cm. (48 x 35 1/2 in.) signed in Chinese (lower left); titled '80-10' (on the reverse); signed 'Chuang Che' (on the stretcher) PROVENANCE Acquired directly from the artist Collection of Petra Hinterthur, Germany Bonhams Hong Kong, 10 July 2020, Lot 16 Acquired from the above sale by the present owner EXHIBITED Germany, Hamburg, Galerie ArtEast/ArtWest, Chuang Che Solo Exhibition, 1989.

1980 年作 壓克力 畫布 款識：莊喆（左下）；80-10 （畫背）；Chuang Che （畫背 內框） 來源 直接得自於藝術家 德國 心達多女士舊藏 邦瀚斯 香港 2020年7月10日 編號 16 現藏者購自上述拍賣 展覽 1989年「莊喆個展」漢堡市東西畫廊 漢堡 德國

HK$ 100,000 - 200,000 US$ 12,800 - 25,600

171

ANDRÉ BRASILLIER (FRENCH, B. 1929)

Les arbres bleus 安德烈．布拉吉利 朝霞 Painted in 1986 oil on canvas 78 x 105 cm. (30 1/2 x 41 1/2 in.) signed 'André Brasillier' (lower right) PROVENANCE Private Collection, Asia 1986年作 油彩 畫布 款識：André Brasillier（右下） 來源 亞洲 私人收藏

HK$ 200,000 - 300,000 US$ 25,600 - 38,500 246

POLY AUCTION HONG KONG

172

BERNARD BUFFET (FRENCH, 1928-1999)

Nature morte aux anemones 貝爾納·布菲 靜物 Painted in 1986 watercolour on paper 47.5 x 63 cm. (18 1/2 x 25 in.) signed 'Bernard Buffet' (upper centre) PROVENANCE Private Collection, Asia This work is to be sold with a certificate of authenticity issued by Galerie Taménaga, Tokyo, Japan.

1986年作 水彩 紙本 款識：Bernard Buffet（中上） 來源 亞洲 私人收藏 附日本 東京 Taménaga畫廊開立之原作保證書

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

173

BERNARD BUFFET (FRENCH, 1928-1999)

Fleurs dans un vase 貝爾納·布菲 瓶花 Painted in 1954 oil on canvas 33.1 x 22.3 cm. (13 x 9 in.) signed and dated 'B.Buffet 54' (lower left) PROVENANCE Me Doutrebente Paris, 19 May 2017, Lot 88 Private Collection (Acquired from family heritage) Private Collection, Asia This work is to be sold with a certificate of authenticity issued by Galerie Maurice Garnier, Paris, France.

1954年作 油彩 畫布 款識：B.Buffet 54（左下） 來源 Me Doutrebente 巴黎 2017年5月19日 編號 88 私人收藏（得自家族遺產） 亞洲 私人收藏 附法國 巴黎 Maurice Garnier畫廊開立之原作保證書

HK$ 220,000 - 320,000 US$ 28,200 - 41,000 MODERN AND CONTEMPORARY ART

247

174

JU MING (CHINESE, ZHU MING, B. 1938)

Taichi Series 朱銘 太極系列 Executed in 1995 bronze sculpture edition: 14/20 22.3 x 17.7 x 30 cm. (9 x 7 x 13 in.) signed in Chinese; editioned and dated '14/20 '95' (lower right) PROVENANCE Kalos Gallery, Taipei, Taiwan Acquired from the above by the present owner This work is to be sold with a certificate of authenticity issued by Lee Chi Creativity Co., Taipei, Taiwan.

HK$ 150,000 - 250,000 US$ 19,200 - 32,100 248

POLY AUCTION HONG KONG

1995年作 銅雕 雕塑 版數：14/20 款識：朱銘 14/20 '95（右下） 來源 台灣 台北 真善美畫廊 現藏者購自上述來源 附台灣 台北 李記創意公司開立之藝術家親簽原作保證書

175

LI CHEN (CHINESE, B. 1963)

Sky 李真 天空 Executed in 2012 bronze sculpture edition: 2/8 65.5 x 54 x 124 cm. (25 3/4 x 21 1/4 x 48 3/4 in.) signed, editioned and dated 'Li Chen 2/8 2012' (engraved on the back) one carved seal of the artist EXHIBITED Italy, Venice, Palazzo Mora, The 55th Venice Biennale: Culture. Mine.

Becoming, 1 June-24 November, 2013 (alternate edition and different sized version exhibited).

LITERATURE Greatness of Spirit: Li Chen Premiere Sculpture Exhibition in Taiwan, Asia Art Center Taipei, Taiwan, 2012 (alternate edition and different sized version illustrated, p. 170).

Monumental Levity of Li Chen: Premiere Sculpture Exhibition Place Vendome, Asia Art Center, Taipei, Taiwan, 2014 (alternate edition and different sized version illustrated, p. 41 & 164).

2012年作 銅雕 雕塑 版數：2/8 款識：Li Chen 2/8 2012（刻於背部） 藝術家手刻鈐印：李真 展覽 2013年6月1日-11月24日「第五十五屆威尼斯雙年展—文化．精神． 生成」莫拉宮殿 威尼斯 義大利（展品為另一版數及尺寸） 出版 《大氣：李真台灣大型雕塑首展》亞洲藝術中心 台北 台灣 2012年 （圖版為另一版數及尺寸，第170頁） 《李真—既重又輕：2013巴黎凡登廣場大型雕塑個展》亞洲藝術中 心 台北 台灣 2014年（圖版為另一版數及尺寸，第41及164頁）

HK$ 1,200,000 - 1,800,000 US$ 153,400 - 230,100 MODERN AND CONTEMPORARY ART

249

176

BÙI XUÂN PHÁI (VIETNAMESE, 1920-1988)

Nude Cheo Actors 裴春派 裸體嘲戲演員 Painted circa 1960 oil on canvas 31.3 x 40.2 cm. (12 1/2 x 16 in.) signed 'Phai' (lower left) PROVENANCE Christie's Singapore, 30 September 2001, Lot 314 Acquired from the above sale by the present owner 約1960年作 油彩 畫布 款識：Phai（左下） 來源 佳士得 新加坡 2001年9月30日 編號 314 現藏者購自上述拍賣

HK$ 50,000 - 100,000 US$ 6,400 - 12,800

177

THEO MEIER (SWISS, 1908-1982)

Balinese Beauty Brushing Her Hair 西奧·梅耶 巴厘島美女梳理她的頭髮 Painted in 1945 pencil and watercolour on paper 55 x 34 cm. (21 1/2 x 13 1/2 in.) signed and dated 'Theo Meier 45' (upper left) PROVENANCE Bonhams-Glerum Singapore, 29 September 1997, Lot 65 Acquired from the above sale by the present owner 1945年作 鉛筆 水彩 紙本 款識：Theo Meier 45（左上） 來源 Bonhams-Glerum 新加坡 1997年9月29日 編號 65 現藏者購自上述拍賣

HK$ 20,000 - 40,000 US$ 2,500 - 5,700 250

POLY AUCTION HONG KONG

178

SU TIANCI (CHINESE, 1922-2006)

Girl in Deep Thought 蘇天賜 少女的沉思 Painted in 1992 oil on canvas 73.5 x 49.3 cm. (29 x 19 1/2 in.) signed in Chinese; dated '1992' (lower right) PROVENANCE Private Collection Beijing Council International Auctions, 6 December 2018, Lot 1515 Acquired from the above sale by the present owner LITERATURE Selected Collection of Ren Weiyin and Su Tianci, Chuang Yi Tang Art Agency, Taipei, Taiwan, 1994 (illustrated, p. 45).

1992年作 油彩 畫布 款識：蘇 1992（右下） 來源 私人收藏 匡時拍賣 北京 2018年12月6日 編號 1515 現藏者購自上述拍賣 出版 《任微音、蘇天賜精品典藏集》創藝堂藝術經紀公司 台北 台灣 1994年（圖版，第45頁）

HK$ 900,000 - 1,500,000 US$ 115,400 - 192,300 MODERN AND CONTEMPORARY ART

251

179

FAN T'CHUN-PI (CHINESE, FANG JUNBI, 1898-1986)

Young Girl 方君璧 豆蔻年華 Painted in 1954 ink and colour on paper 38.1 x 33 cm. (15 x 13 in.) signed 'Fan Tchunpi'; signed in Chinese (upper right) one seal of the artist PROVENANCE Private Collection (Acquired directly from the artist's family) China Guardian Beijing, 21 November 2018, Lot 1414 Acquired from the above sale by the present owner 1954年作 水墨 設色 紙本 款識：Fan Tchunpi 君璧（右上） 鈐印：方 來源 私人收藏（直接得自於藝術家家屬） 中國嘉德 北京 2018年11月21日 編號 1414 現藏者購自上述拍賣

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

180

SANYU (CHINESE, CHANG YU, 1895-1966)

Reading Woman 常玉 閱讀的女子 Painted circa 1960s charcoal and ink on paper 45 x 27.7 cm. (17 1/2 x 11 in.) signed in Chinese; signed 'SANYU' (middle right) LITERATURE Sanyu Catalogue Raisonné: Drawings and Watercolours, The Li Ching Cultural and Educational Foundation, Taipei, Taiwan, 2014 (USB flash drive, illustrated, plate D2038, p. 87).

This work is to be sold with a certificate of authenticity issued by Jia Art Gallery, Taipei, Taiwan. 約1960年代作 炭筆 水墨 紙本 款識：玉 SANYU（右中） 出版 《常玉素描與水彩全集》財團法人立青文教基金會 台北 台灣 2014年 （隨身碟方式附錄，圖版，第D2038圖，第87頁） 附台灣 台北 家畫廊開立之原作保證書

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

252

POLY AUCTION HONG KONG

181

SANYU (CHINESE, CHANG YU, 1895-1966)

Female dessinant 常玉 作畫的女人 ink on paper 42.7 x 25.6 cm. (17 x 10 in.)

PROVENANCE Acquired from Jean-Claude Riedel in 2008 Christie's Paris, 23 June 2020, Lot 95 Acquired from the above sale by the present owner LITERATURE Sanyu Catalogue Raisonné: Drawings and Watercolours, The Li Ching Cultural and Educational Foundation, Taipei, Taiwan, 2014 (USB flash drive, illustrated, plate D2331, p. 105).

Sanyu Catalogue Raisonné: Drawings and Watercolours, The Li Ching Cultural and Educational Foundation, Taipei, Taiwan, 2014 (illustrated, plate D2331, p. 121). 水墨 紙本 來源 2008年得自於Jean-Claude Ridel 佳士得 巴黎 2020年6月23日 編號 95 現藏者購自上述拍賣 出版 《常玉素描與水彩全集》財團法人立青文教基金會 台北 台灣 2014年 （隨身碟方式附錄，圖版，第D2331圖，第105頁） 《常玉素描與水彩全集》財團法人立青文教基金會 台北 台灣 2014年 （圖版，第D2331圖，第121頁）

182

SANYU (CHINESE, CHANG YU, 1895-1966)

Standing Nude 常玉 站姿裸女 pencil and charcoal on paper 48.8 x 28.9 cm. (19 x 11 1/2 in.) signed in Chinese; signed 'SANYU' (lower right) PROVENANCE Private Collection, Asia LITERATURE Sanyu Catalogue Raisonné: Drawings and Watercolours, The Li Ching Cultural and Educational Foundation, Taipei, Taiwan, 2014 (USB flash drive, illustrated, plate D1185, p. 68). 鉛筆 炭筆 紙本 款識：玉 SANYU（右下） 來源 亞洲 私人收藏 出版 《常玉素描與水彩全集》財團法人立青文教基金會 台北 台灣 2014年 （隨身碟方式附錄，圖版，第D1185圖，第68頁）

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

HK$ 150,000 - 250,000 US$ 19,200 - 32,100 MODERN AND CONTEMPORARY ART

253

183

LÉONARD TSUGUHARU FOUJITA (JAPANESE-FRENCH, 1886-1968)

Sleep 藤田嗣治 睡 Painted in 1928 ink and charcoal on paper 21.8 x 25.2 cm. (8 1/2 x 10 in.) signed in Japanese; signed and dated 'Foujita 1928' (lower right) PROVENANCE Private Collection, Paris, France Piasa Paris, 22 May 2019, Lot 10 Acquired from the above sale by the present owner LITERATURE Foujita inédits, Volume III, Edition Fondation Nichido, A l'encre rouge-Archives artistiques, Paris, France, 2007 (illustrated, plate C.28.235.D, p. 146).

1928年作 水墨 炭筆 紙本 款識：嗣治 Foujita 1928（右下） 來源 法國 巴黎 私人收藏 Piasa 巴黎 2019年5月22日 編號 10 現藏者購自上述拍賣 出版 《Foujita inédits —第三冊》Nichido基金會出版社；A l'encre rouge藝 術家資料庫 巴黎 法國 2007年（圖版，第C.28.235.D號，第146頁）

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

184

LÉONARD TSUGUHARU FOUJITA (JAPANESE-FRENCH, 1886-1968)

Models, The Couple 藤田嗣治 情侶 Painted in 1928 black stone on tracing paper, laid on Japanese paper 118.8 x 78 cm. (47 x 30 1/2 in.) signed in Japanese; signed 'Foujita' (lower centre) PROVENANCE Mes Kahn and Dumousset Paris, 4 April 2008, Lot 48 Private Collection, Paris Private Collection, Asia 1928年作 黑石灰 描圖紙 裱於日本紙 款識：嗣治 Foujita（中下） 來源 Mes Kahn and Dumousset 巴黎 2008年4月4日 編號 48 巴黎 私人收藏 亞洲 私人收藏

HK$ 380,000 - 480,000 US$ 48,700 - 61,500 254

POLY AUCTION HONG KONG

185

WALASSE TING (CHINESE, DING XIONGQUAN, 1929-2010)

Reclining Nude With Flowers 丁雄泉 美人 watercolour on paper, laid on canvas 63.7 x 96 cm. (25 x 38 in.) one seal of the artist PROVENANCE Private Collection (Acquired directly from the family of the artist) Private Collection, Asia LITERATURE Walasse Ting Paintings Catalogue: Followers, Love Affaires and Women - Women, Lung Men Art Gallery; Apollo Gallery; & Asia Art Center, Taipei, Taiwan, 1992 (illustrated, p. 21).

This work is to be sold with a certificate of authenticity issued by the family of the artist. 水彩 紙本 裱於畫布 藝術家鈐印：採花大盜 來源 私人收藏（直接得自於藝術家家屬） 亞洲 私人收藏 出版 《風花．雪月．女人-女人 丁雄泉畫集》 龍門畫廊；阿波羅 畫廊；及 亞洲藝術中心 台北 台灣 1992年（圖版，第21頁） 附藝術家家屬開立之作品保證書

HK$ 80,000 - 150,000 US$ 10,300 - 19,200

186

TAKERU AMANO (JAPANESE, B. 1977)

Venus with Socks 天野健 穿著襪子的維納斯 Executed in 2020 spray paint on canvas 88 x 129.5 cm. (34 1/2 x 51 in.)

PROVENANCE Waluso Gallery, London, UK Acquired from the above by the present owner 2020年作 噴漆 畫布 來源 英國 倫敦 Waluso畫廊 現藏者購自上述來源

HK$ 50,000 - 100,000 US$ 6,400 - 12,800

MODERN AND CONTEMPORARY ART

255

187

TAKERU AMANO (JAPANESE, B. 1977)

Goddess 3 天野健 女神 3 Painted in 2021 acrylic on canvas 141 x 101 cm. (55 1/2 x 40 in.) signed with artist's signature; dated '2021' (lower right) PROVENANCE Galerie OVO, Taipei, Taiwan Acquired from the above by the present owner EXHIBITED Taiwan, Taipei, Galerie OVO, Venus In Midsummer-TAKERU AMANO, 4-28 August, 2021.

2021年作 壓克力 畫布 款識：藝術家簽名； 2021（右下） 來源 台灣 台北 十方藝術空間 現藏者購自上述來源 展覽 2021年8月4-28日「Venus in Midsummer-TAKERU AMANO」十方 藝術空間 台北 台灣 附台灣 台北 十方藝術空間開立之原作保證書

This work is to be sold with a certificate of authenticity issued by Galerie OVO, Taipei, Taiwan.

HK$ 120,000 - 240,000 US$ 15,400 - 30,800 256

POLY AUCTION HONG KONG

188

YUICHI HIRAKO (JAPANESE, B. 1982)

Tree Climbing 5 平子雄一 爬樹 5 Painted in 2014 acrylic on canvas 82 x 102 cm. (32 1/2 x 40 in.) signed and dated 'YH. 14' (on the reverse) PROVENANCE Yiri Arts, Taipei, Taiwan Acquired from the above by the present owner

189

YUICHI HIRAKO (JAPANESE, B. 1982)

Boy 83 平子雄一 男子83 Executed in 2016 mixed media sculpture 11.5 x 15 x 36 cm. (4 1/2 x 6 x 14 in.)

PROVENANCE Yiri Arts, Taipei, Taiwan Acquired from the above by the present owner

EXHIBITED Taiwan, Taipei, Yiri Arts, 10 x 10 Yuichi Hirako, 7-23 July, 2020.

This work is to be sold with a certificate of authenticity issued by Yiri Arts, Taipei, Taiwan.

This work is to be sold with a certificate of authenticity issued by Yiri Arts, Taipei, Taiwan.

2016年作 綜合媒材 雕塑

2014年作 壓克力 畫布 款識：YH. 14 （畫背）

來源 台灣 台北 伊日藝術計劃 現藏者購自上述來源

來源 台灣 台北 伊日藝術計劃 現藏者購自上述來源 展覽 2020年7月7-23日「10 x 10 - 平子雄一 -Hirako Yuichi」伊日藝術計 劃 台北 台灣

附台灣 台北 伊日藝術計劃開立之原作保證書

HK$ 25,000 - 50,000 US$ 3,200 - 6,400

附台灣 台北 伊日藝術計劃開立之原作保證書

HK$ 150,000 - 300,000 US$ 19,200 - 38,500 MODERN AND CONTEMPORARY ART

257

190

IIDA KIRIKO (JAPANESE, B. 1970)

Small Ship 飯田桐子 小船 Painted in 2020 oil on canvas 60.6 x 72.7 cm. (23 3/4 x 28 1/2 in.) signed 'Kiriko Iida' (on the stretcher); signed and dated 'Kiriko Iida 2020' (on the reverse) PROVENANCE Private Collection, Asia This work is to be sold with a certificate of authenticity issued by Soka Art, Taipei, Taiwan.

2020年作 油彩 畫布 款識：Kiriko Iida（畫背內框）；Kiriko Iida 2020 （畫背） 來源 亞洲 私人收藏 附台灣 台北 索卡藝術開立之原作保證書

HK$ 40,000 - 80,000 US$ 5,100 - 10,300

258

POLY AUCTION HONG KONG

191

TOMOKO NAGAI (JAPANESE, B. 1982)

One Night, with The Sound of Mineral 長井朋子 伴著礦物之聲的一晚 Executed in 2009 acrylic, oil and glitter on canvas 163 x 130 cm. (64 1/4 x 51 1/4 in.) titled in Japanese; signed and dated 'Tomoko Nagai 2009' (on the stretcher) PROVENANCE Tomio Koyama Gallery, Tokyo, Japan Private Collection Rago Auctions New Jersey, 29 September 2021, Lot 366 Acquired from the above sale by the present owner 2009年作 壓克力 油彩 閃粉 畫布 款識：鉱石の嗚ろ夜 Tomoko Nagai 2009（畫背內框） 來源 日本 東京 小山登美夫畫廊 私人收藏 Rago拍賣 紐澤西 2021年9月29日 編號 366 現藏者購自上述拍賣

HK$ 100,000 - 200,000 US$ 12,800 - 25,600

192

TOMOKO NAGAI (JAPANESE, B. 1982)

The Cat Relaxing on a Sofa in the Woods 長井朋子 森林中沙發上休息的貓 Executed in 2014 watercolour, pencil, colour pencil, ink and collage on panel 29.5 x 20.5 cm. (11 1/2 x 8 1/4 in.) titled in Japanese; signed and dated 'Tomoko Nagai 2014' (on the reverse) PROVENANCE Tomio Koyama Gallery, Tokyo, Japan Private Collection, Asia 2014年作 水彩 鉛筆 彩色鉛筆 墨水 拼貼 木板 款識：森の中のソファーでくつろぐ猫 Tomoko Nagai 2014（畫 背） 來源 日本 東京 小山登美夫畫廊 亞洲 私人收藏

193

MIWA KOMATSU (JAPANESE, B. 1984)

A Time of Destiny 小松美羽 命運的時刻 Painted in 2018 acrylic, pen and mixed media on canvas 65.5 x 53.2 cm. (25 3/4 x 21 in.) dated and signed '2018 Komi wa'; signed in Japanese (on the reverse) This work is to be sold with a certificate of authenticity issued by Whitestone Gallery, Hong Kong, China.

2018年作 壓克力 鋼筆 綜合媒材 畫布 款識：2018 Komi wa 小松美羽（畫背） 附中國 香港 白石畫廊開立之原作保證書

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

HK$ 10,000 - 30,000 US$ 1,300 - 3,800 此為無底價拍品 SOLD WITHOUT RESERVE MODERN AND CONTEMPORARY ART

259

194

MIWA KOMATSU (JAPANESE, B. 1984)

The Appearance of a Dragon Overlapping with a Light 小松美羽 龍與光重疊的樣子 Painted in 2018 acrylic on canvas 162.2 x 130.5 cm. (64 x 51 1/2 in.) dated and signed '2018 Komi wa'; signed in Japanese (on the reverse) PROVENANCE Whitestone Gallery, Hong Kong, China Acquired directly from the above by the present owner EXHIBITED Japan, Fukushima, NAKAGO CO., Ltd, International Young Artist Exhibition, 18-23 October, 2018.

China, Hong Kong, Whitestone Gallery, Miwa Komatsu: Divine Spirit, 26 March-28 April, 2019.

2018 年作 壓克力 畫布 款識：2018 Komi wa 小松美羽（畫背） 來源 中國 香港 白石畫廊 現藏者購自上述來源 展覽 2018年10月18-23日「國際青年藝術家展覽」中合百貨店 福島 日本 2019年3月26日-4月28日「小松美羽：神獸」白石畫廊 香港 中國

HK$ 600,000 - 800,000 US$ 76,900 - 102,600

195

MIWA KOMATSU (JAPANESE, B. 1984)

Fresh Air Exchange 小松美羽 清新氣場的交流 Painted in 2019 acrylic on canvas 45.5 x 45.5 cm. (18 x 18 in.) dated and signed '2019 Komi wa'; signed in Japanese (on the reverse) PROVENANCE Whitestone Gallery, Hong Kong, China Acquired directly from the above by the present owner 2019 年作 壓克力 畫布 款識：2019 Komi wa 小松美羽（畫背） 來源 中國 香港 白石畫廊 現藏者購自上述來源

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

260

POLY AUCTION HONG KONG

196

ETSU EGAMI (JAPANESE, B. 1994)

江上越 臉 Painted in 2021 oil on canvas 53.6 x 78.8 cm. (20 3/4 x 31 in.) signed and dated 'Egami Etsu 2021' (bottom)

Face

EXHIBITED France, Paris, A2Z Art Gallery, Social Distancing, 29 May-19 June, 2021.

2021年作 油彩 畫布 款識：Egami Etsu 2021（底部） 展覽 2021年5月29日-6月19日「社交距離」A2Z藝術畫廊 巴黎 法國

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

197

ETSU EGAMI (JAPANESE, B. 1994)

Time Warp Series 江上越 時空扭曲系列 Painted in 2018 oil on canvas 120 x 80 cm. (47 x 31 1/2 in.) signed 'Etsu Egami' (on the reverse); signed and dated 'Etsu Egami 2018' (on the stretcher) PROVENANCE PBS Art Center, Shenzhen, China Acquired from the above by the present owner The work is to be sold with a certificate of authenticity issued by PBS Art Center, Shenzhen, China.

2018年作 油彩 畫布 款識：Etsu Egami（畫背）；Etsu Egami 2018（畫背內框） 來源 中國 深圳 桃花源藝術中心 現藏者購自上述來源 附中國 深圳 桃花源藝術中心開立之原作保證書

HK$ 100,000 - 200,000 US$ 12,800 - 25,600 MODERN AND CONTEMPORARY ART

261

Lot 198

198

KAWS (AMERICAN, B. 1974)

Three separate works: NO ONE'S HOME; STAY STEADY; & THE THINGS THAT COMFORT KAWS 三件作品：沒人在家；保持鎮靜；及安慰的事物 Executed in 2015 three screenprints edition: 9/250 plus 50 APs; 9/250 plus 50 APs; & 9/250 plus 50 APs 91 x 76 cm. (36 x 30 in.); 73.6 x 85 cm. (29 x 33 1/2 in.); & 91 x 73 cm.

(36 x 28 1/2 in.) editioned, signed and dated '9/250 KAWS.. 15' (bottom of each)

2015年作 絲網 版畫（共三件） 版數：9/250及50版藝術家試版；9/250及50版藝術家試版；9/250 及50版藝術家試版 款識：9/250 KAWS.. 15（每件底部） 來源 美國 紐約 佩斯版畫 私人收藏 現藏者購自上述來源

PROVENANCE Pace Prints, New York, USA Private Collection Acquired from the above by the present owner

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

199

KAWS (AMERICAN, B. 1974)

PIRANHAS WHEN YOU'RE SLEEPING KAWS 睡夢中的食人魚 Executed in 2017 screenprint edition: AP 16/20 152.5 x 116.8 cm. (60 x 46 in.) editioned, signed and dated 'AP 16/20 KAWS.. 17' (bottom) PROVENANCE Pace Prints, New York, USA Private Collection Acquired from the above by the present owner 2017年作 絲網 版畫 版數：藝術家試版 16/20 款識：AP 16/20 KAWS.. 17（底部） 來源 美國 紐約 佩斯版畫 私人收藏 現藏者購自上述來源

HK$ 150,000 - 250,000 US$ 19,200 - 32,100 Lot 199

262

POLY AUCTION HONG KONG

200

KAWS (AMERICAN, B. 1974)

UNTITLED KAWS 無題 Executed in 2003 screenprint edition: 11/32 plus 9 APs 35 x 53 cm. (14 x 21 in.) signed, dated and editioned 'KAWS..2003. 11/32' (on the reverse) PROVENANCE Private Collection, Asia 2003年作 絲網 版畫 版數：11/32及9版藝術家試版 款識：KAWS..2003. 11/32（畫背） 來源 亞洲 私人收藏

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

201

DAVID HOCKNEY (BRITISH, B. 1937)

大衛．霍克尼 它會成功嗎 Executed in 2011 iPad drawing printed on paper edition: 8/25 83 x 60.8 cm. (32 1/2 x 24 in.) editioned, signed and dated '8/25 David Hockney '11' (bottom)

Will It Ever Work

PROVENANCE Pace Gallery, New York, USA Acquired directly from the above by the present owner 2011年作 iPad繪畫印刷 紙本 版數：8/25 款識：8/25 David Hockney '11（底部） 來源 美國 紐約 佩斯畫廊 現藏者購自上述來源

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

MODERN AND CONTEMPORARY ART

263

202

YAYOI KUSAMA (JAPANESE, B. 1929)

Dancing Pumpkin 草間彌生 跳舞南瓜 Executed in 1993 screenprint edition: 2/120 74.5 x 95.5 cm. (29 1/2 x 37 1/2 in.) editioned, dated and signed '2/120 1993 Yayoi Kusama'; titled in Japanese (bottom) PROVENANCE SBI Art Auction Tokyo, 1 November 2019, Lot 154 Acquired from the above sale by the present owner LITERATURE Yayoi Kusama Prints 1979-2017, ABE Publishing Ltd., Tokyo, Japan, 2019 (alternate edition illustrated, plate 185, p. 114).

1993年作 絲網 版畫 版數：2/120 款識：2/120 ダンスかぼちや 1993 Yayoi Kusama（底部） 來源 SBI 拍賣 東京 2019年11月1日 編號 154 現藏者購自上述拍賣 出版 《草間彌生全版畫1979-2017》阿部出版 東京 日本 2019年（圖 版為另一版數，第185圖，第114頁）

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

203

YOSHITOMO NARA (JAPANESE, B. 1959)

Sleepless Night (Sitting) 奈良美智 失眠夜（坐姿） Executed in 2007 mixed media sculpture edition: 111/300 15 x 17 x 28 cm. (6 x 6 1/2 x 11 in.)

This work is to be sold with a certificate of authenticity signed by the artist and issued by Yoshitomo Nara and How2work.

2007 年作 綜合媒材 雕塑 版數：111/300 附Yoshitomo Nara及How2work開立之藝術家親簽原作保證書

HK$ 400,000 - 600,000 US$ 51,300 - 76,900 264

POLY AUCTION HONG KONG

204

YOSHITOMO NARA (JAPANESE, B. 1959)

205

ROBY DWI ANTONO (INDONESIAN, B. 1990)

Cosmic Girls (Eyes Opened; & Eyes Closed)

Luh and Ruh 羅比·迪·安東諾 Luh及Ruh

奈良美智 宇宙女孩（睜眼；及閉眼） Executed in 2008 a set of two offset prints edition of 500 each: 69 x 49 cm. (27 1/4 x 19 1/4 in.)

Executed in 2021 a set of two resin sculptures edition: 11/150 22 x 22 x 29 cm. (8 1/2 x 8 1/2 x 11 1/2 in.); & 24 x 25 x 29 cm. (9 1/2 x 9 3/4 x 11 1/2 in.)

EXHIBITED UK, Gateshead, BALTIC Centre of Contemporary Art, Yoshitomo Nara + Graf A-Z, 12 June-26 October, 2008 (alternate edition exhibited).

PROVENANCE Private Collection, Asia

LITERATURE Yoshitomo Nara: The Complete Works Volume 2-Paintings, Sculptures, Editions, Photographs, Bijutsu Shuppan Sha, Tokyo, Japan, 2011 (alternate edition illustrated, p. 276).

This work is to be sold with a certificate of authenticity signed by the artist and issued by Vinsarts, Taipei, Taiwan.

2008年作 膠印 版畫（一組共兩件） 版數：500 展覽 2008年6月12日-10月26日「 Yoshitomo Nara + Graf A-Z」BALTIC 現代藝術中心 蓋茨黑德 英國（展覽為另一版數） 出版 《奈良美智：作品全集2卷-繪畫·雕塑·版畫·攝影作品》株式會社 美術出版社 東京 日本 2011年（圖版為另一版數，第276頁）

2021 年作 樹脂 雕塑（一組共兩件） 版數：11/150 來源 亞洲 私人收藏 附台灣 台北 Vinsarts開立之藝術家親簽原作保證書

HK$ 30,000 - 60,000 US$ 3,800 - 7,700

HK$ 30,000 - 100,000 US$ 3,800 - 12,800

MODERN AND CONTEMPORARY ART

265

206

CHANG TENG-YUAN (CHINESE, B. 1983) Carry Test 張騰遠 新娘抱測試 Painted in 2021 acrylic on canvas 60 x 60 cm. (23 1/2 x 23 1/2 in.) signed 'Chang Teng Yuan' (right edge); inscribed '#ParrotMan' (left edge) EXHIBITED China, Hong Kong, 13A New Street Art Gallery, PARROTMAN by Chang Tengyuan, 21 May-7 June, 2021.

2021 年作 壓克力 畫布 款識：Chang Teng Yuan（右面畫側）；#ParrotMan（左 面畫側） 展覽 2021年5月21日-6月7日「鸚鵡人登陸香港」13A Street Art 畫廊 香港 中國

New

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

207

HE JUAN (CHINESE, B. 1985)

Bite off Ears 賀娟 咬耳朵 Painted in 2008 oil on canvas 180 x 160 cm. (71 x 63 in.) dated and signed '2008.3.HEJUAN' (lower centre); titled, inscribed and signed in Chinese; signed 'Juan' (on the reverse) PROVENANCE Gallery Beijing Space, Beijing, China Private Collection Private Collection, Asia 2008年作 油彩 畫布 款識：2008.3.HEJUAN.（中下）；《咬耳朵》 綜合材料 丙烯 賀娟 Juan （畫背） 來源 中國 北京 北京空間畫廊 私人收藏 亞洲 私人收藏

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

266

POLY AUCTION HONG KONG

208

RYAN TRAVIS CHRISTIAN (AMERICAN, B. 1983)

CT ACID 瑞安．特拉維斯．克裡斯丁 CT酸 Executed in 2020 graphite on paper 43.7 x 38.3 cm. (17 x 15 in.)

PROVENANCE The Hole, New York, USA Acquired directly from the above by the present owner EXHIBITED USA, New York, The Hole, Nature Morte, 8 April-16 May, 2021.

2020年作

石墨 紙本

來源 美國 紐約 The Hole畫廊 現藏者購自上述來源 展覽 2021年4月8日-5月16日「靜物」The Hole畫廊 紐約 美國

HK$ 45,000 - 60,000 US$ 5,800 - 7,900 Lot 208

209

ZAO WOU-KI (CHINESE-FRENCH, ZHAO WUJI, 1920-2013) No. 237; & Untitled 趙無極 第237號；及無題 Executed in 1973; & 1954 lithograph; & etching edition: E.A./120; & 52/120 No. 237: 62 x 48 cm. (24 1/2 x 18 3/4 in.); & Untitled: book size: 23 x 16 cm.

(9 x 6 1/4 in.); etching size: 16 x 10.5 cm. (6 1/4 x 4 1/4 in.)

No. 237: editioned, signed and dated 'E.A. ZAO 73'; signed in Chinese (bottom) Untitled: editioned, signed and dated '52/120 ZAO 54'; signed in Chinese (bottom) PROVENANCE Private Collection, Asia LITERATURE No. 237: Zao Wou-Ki Les estampes 1937-1974, Arts et Metiers Graphiques, Paris, France, 1975 (alternate edition illustrated in black and white, plate 238, p. 129).

Zao Wou-Ki: The Graphic Work A Catalogue Raisonné 1937-1995, Edition Heede & Moestrup, Copenhagen, Denmark, 1994 (alternate edition illustrated, plate 237, p. 135).

Untitled: Nesto Jacometti: Catalogue raisonné de l'oeuvre gravée et lithographiée de Zao Wou-Ki 1949-1954, Edition Gutekunst & Klipstein, Berne, Switzerland, 1955 (alternate edition illustrated, unpaginated).

HK$ 50,000 - 80,000 US$ 6,400 - 10,300

Lot 209

1973；及1954 年作 石版 版畫；及蝕刻 版畫 版數：藝術家試版；及 52/120 款識： 《第237號》：E.A. 無極ZAO 73（底部） 《無題》：52/120 無極ZAO 54（底部） 來源 亞洲 私人收藏 展覽 《第237號》： 《趙無極版畫集》Arts et Metiers Graphiques 巴黎 法國 1975年（黑 白圖版為另一版數，第238圖，第129頁) 《趙無極版畫集1937-1995》Edition Heede & Moestrup 丹麥 1994 年（圖版為另一版數，第237圖，第135頁） 《無題》： 《趙無極版畫編年集1949-1954》Edition Gutekunst & Klipstein 伯爾 尼 瑞士 1955年（圖版為另一版數，無頁碼）

MODERN AND CONTEMPORARY ART

267

210

SATORU KOIZUMI (JAPANESE, B. 1983)

with 小泉悟 一同 Executed in 2020 wood sculpture edition: 47/88 20 x 18 x 49.5 cm. (7 3/4 x 7 x 19 1/2 in.)

This work is to be sold with a certificate of authenticity issued by APPortfolio.

2020年作 木 雕塑 版數：47/88 附APPortfolio開立之原作保證書

HK$ 25,000 - 35,000 US$ 3,200 - 4,500

211

HIKARI SHIMODA (JAPANESE, B. 1984)

Light Up! Lonely Hero and Obake 下田光 點亮！孤獨的英雄和奧巴克 Executed in 2021 resin sculpture edition: 38/38 34.5 x 24.5 x 43 cm. (13 1/2 x 9 1/2 x 17 in.) signed and editioned 'Hikari 38/38' (on the keychain) 2021年作 樹脂 雕塑 版數：38/38 款識：Hikari 38/38（於鑰匙鏈）

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

268

POLY AUCTION HONG KONG

212

SATORU KOIZUMI (JAPANESE, B. 1983)

with 小泉悟 一同 Executed in 2021 resin sculpture edition: 8/300 15 x 12 x 31 cm. (6 x 4 1/2 x 12 1/4 in.)

This work is to be sold with a certificate of authenticity issued by APPortfolio.

2021年作 樹脂 雕塑 版數：8/300 附APPortfolio開立之原作保證書

HK$ 12,000 - 22,000 US$ 1,500 - 2,800

213

TOMOKAZU MATSUYAMA (JAPANESE, B. 1976)

Broken Train Pick Me 松山智一 破碎的火車選擇了我 Executed in 2021 screenprint edition: 95/100 83.8 x 51.4 cm. (33 x 20 in.) signed and editioned 'Matsuyama 95/100' (lower left) This work is to be sold with a certificate of authenticity signed by the artist, issued by Avant Arte, Amsterdam, Netherlands.

2021年作 絲網 版畫 版數：95/100 款識：Matsuyama 95/100（左下） 附荷蘭 阿姆斯特丹 Avant Arte畫廊開立之藝術家親簽原作保證書

HK$ 25,000 - 35,000 US$ 3,200 - 4,500

MODERN AND CONTEMPORARY ART

269

214

GEORGE CONDO (AMERICAN, B. 1957)

Droopy Dog Abstraction 喬治·康多 抽象德魯比 Executed in 2017 screenprint edition: P.P. 5/15 37.9 x 34.7 cm. (15 x 13 1/2 in.) signed, dated and editioned 'Condo 2017 P.P. 5/15' (bottom) PROVENANCE Private Collection, Asia

HK$ 70,000 - 90,000 US$ 9,000 - 11,500 270

POLY AUCTION HONG KONG

2017年作 絲網 版畫 版數：試版 5/15 款識：Condo 2017 P.P. 5/15（底部） 來源 亞洲 私人收藏

215

DAVID SHRIGLEY (BRITISH, B. 1968)

216

CHIHARU SHIOTA (JAPANESE, B. 1972)

I Am Elegant; & I Hate Human Beings

Cell 塩田千春 細胞

大衛· 斯理 我很優雅；及我討厭人類 Executed in 2021 two screenprints edition: 36/125 each: 76 x 56 cm. (30 x 22 in.) editioned '36/125' (on the reverse of each)

Executed in 2020 lithograph edition: 13/40 64.3 x 49.3 cm. (25 1/2 x 19 1/2 in.) editioned '13/40'; signed with artist's signature (bottom)

The works are to be sold with a certificate of authenticity signed by the artist.

2021年作 絲網 版畫（共兩件） 版數：36/125 款識：36/125（每件畫背）

PROVENANCE König Galerie, Berlin, Germany.

Acquired from the above by the present owner The work is to be sold with a certificate of authenticity signed by the artist, issued by König Galerie, Berlin, Germany.

附藝術家親簽原作保證書

2020年作 石版 版畫 版數：13/40 款識：13/40；藝術家簽名（底部）

HK$ 38,000 - 48,000 US$ 4,900 - 6,200

來源 德國 柏林 König畫廊 現藏者購自上述來源 附德國 柏林 König畫廊開立之藝術家親簽原作保證書

HK$ 15,000 - 30,000 US$ 1,900 - 3,800

END OF SALE MODERN AND CONTEMPORARY ART

271

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