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\n","auctionDetailsSmall","Hong Kong Auction 7 October 2023","extraInfo","

Anastasia Salnikoff
\nHead of Day Sale, Associate Specialist
\n+852 2318 2014
\nanastasiasalnikoff@phillips.com

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\n\n

莎拉·坎寧咸 (Sarah Cunningham)，《月相》，2020年作
\n估價: 350,000 – 550,000港元
\n二十世紀及當代藝術日間拍賣，香港 10月7日

\n\n

環顧藝術歷史，大自然的空靈之美一直由藝術家不斷探索，可見大自然猶如迷人的奇蹟泉源。富藝斯二十世紀及當代藝術日間拍賣蒐羅的「日落系列」匯集以明亮色調為主的作品，展示藝術家如何在用色方面呈現自然世界的各個層面。系列薈萃廣獲好評的藝術家之作，包括：莎拉．坎寧安、米利亞姆．卡恩、蓋．亞奈、薇薇安．斯普林福德等。富藝斯誠邀閣下細賞以下拍品，見證大自然持續成為靈感之泉的吸引力。

\n\n

莎拉．坎寧安

\n\n

\n\n

莎拉·坎寧咸 (Sarah Cunningham)，《月相》，2020年作
\n估價: 350,000 – 550,000港元
\n二十世紀及當代藝術日間拍賣，香港 10月7日

\n\n

《月相》是坎寧咸半抽象式風景畫的代表作，邀請觀者進入一個遊走於現實與想像的界線之間的世界。拍品由酒紅色和藍綠色的顏料漩渦交織而成，激活散發光芒的月亮和起伏的波浪，而以上富有表現力的筆觸猶如翩翩起舞一般。鮮豔色彩和光影動態相互交替，充滿動感，將觀包圍在一個空靈的畫面之中，而水平線卻又近乎遙不可及。

\n\n

坎寧咸以滿載詩意和直觀心理的繪畫手法聞名，其畫作和諧地糅合了鮮豔色彩和表現形態，探索自然與情感之間錯綜複雜的關係。

\n\n

《月相》在二十世紀及當代藝術日間拍賣的亮相標誌著這位英國藝術家職業生涯的關鍵時刻：坎寧咸首度亮相亞洲拍賣市場，也成為了她被譽為一股不可忽視的藝術力量之印證。多場成功個展和屢獲殊榮鞏固她的迅速崛起和外界對其藝術實力的認可。她最近在首爾里森畫廊和紐約阿爾敏．萊希畫廊等著名藝術空間舉辦個展，備受矚目。

\n\n

黛西．多德．諾布爾

\n\n

\n\n

黛西·多德·諾布爾 (Daisy Dodd-Noble)
\n《德亞的樹林》， 2021年作
\n估價: 40,000 – 80,000港元
\n二十世紀及當代藝術日間拍賣，香港 10月7日

\n\n

黛西．多德．諾布爾的作品《德亞的樹林》盡是棉花糖般的天空和纖細樹木，讓觀者沉浸在奇幻風景之中。在她的超現實主義場景裡，以茂密層疊的森林為背景，在絢麗的日落映襯下，運用了粉紅色、橙色、黃色和紫色的柔和色調呈現。拍品亦棲息於現實與想像共存的詩情畫意之中。

\n\n

本作根據藝術家於2021年在馬略卡島L21 畫廊駐留期間所繪畫的草圖製作而成，曾於2021年在 G/ART/EN 畫廊舉辦的群展〈慾望與焦慮〉中展出。她輕柔的筆觸喚起了一種既熟悉又超凡脫俗的空靈景象，邀請著觀者進入熟悉的平衡宇宙。《德亞的樹林》呈現出一個明顯的轉變，從藝術家將某些樹木漫畫化，到展現出對本土和非本土物種更充分的理解，可見多德．諾布爾進一步道出了氣候變化的緊迫問題。

\n\n

梁遠葦

\n\n

\n\n

梁遠葦，《2015.01》，2015年1月作
\n估價: 1,200,000 – 2,200,000港元
\n二十世紀及當代藝術日間拍賣，香港 10月7日

\n\n

\n
「我一直覺得，真正偉大的作品，應如風景般安寧靜謐。神遊其中，就能領會到它的深意。」— 梁遠葦
\n

\n\n

傑出華裔畫家梁遠葦近十年來迅速崛起，其紋理豐富的畫布重現了碎花布料的圖案，閃爍著彩色的明亮，巧妙地捕捉了日落中看到的活力色調。她以流程為本的創作方式尤其緩慢，費力勞神而且研精覃思。藝術家逐節構建畫作的同時，厚重的油彩也是逐層塗上，塑造近乎精雕細琢的表面。

\n\n

梁遠葦的作品曾在多個國家和著名場地展出，包括：2011年第54屆威尼斯雙年展中國館、2017年威尼斯雙年展皮薩尼宮《勘玉釧》、2022年北京公社畫廊等。

\n\n

米利亞姆‧卡恩

\n\n

\n\n

米利亞姆‧卡恩(Miriam Cahn)
\n《幻山》，2004年8月16日作
\n估價: 200,000 – 400,000港元
\n二十世紀及當代藝術日間拍賣，香港 10月7日

\n\n

米利亞姆‧卡恩的《幻山》尖山景觀將觀者傳送到氣勢磅礡的風景之中，或許是受到她家附近的瑞士阿爾卑斯山脈所啟發。不論真實或想像，景觀是卡恩作品的常見主題，為作品注入一絲希望。本作展示絢麗火熱的色調，全然展現了藝術家對情感的理解，親密而有力。

\n\n

1994年，卡恩展開她對鮮豔色彩的探索之旅，並且沉迷大眾媒體圖像的強大影響。日趨鮮色的變化標誌著個人藝術風格的重大演變，使她能夠更深入地探索和強調色彩的情感品質。《幻山》是卡恩精湛技藝的上乘範例，尤其在於通過用色傳達情感和深度方面，彰顯了她細緻入微的理解和欣賞，不僅以色盤喚起情感，並與觀者產生共鳴。

\n\n

卡恩的作品最近在多個著名機構舉辦成功個展，包括剛在巴黎東京宮進行的個人首個大型回顧展（2023年2至5月），以及在柏林Meyer Riegger畫廊的展覽（2020年）。

\n\n

蓋．亞奈

\n\n

\n\n

蓋．亞奈(Guy Yanai)
\n《聖馬丁與乞丐（追隨在薩塞達之後）》， 2019年作
\n估價: 150,000 – 250,000港元
\n二十世紀及當代藝術日間拍賣，香港 10月7日

\n\n

《聖馬丁與乞丐（追隨在薩塞達之後）》是蓋．亞奈幾何藝術的傑作，由不同長度和方向的彩色條紋所組成，透過藝術家揮舞畫筆和調色刀，以其獨特流暢的筆觸來實現景深。

\n\n

正如標題所示，本作參考了薩塞達1433年的同名作品，畫中描繪聖馬丁為一名年輕羅馬士兵，準備與發冷的乞丐分享自己的斗篷。然而，與文藝復興時期的故事描述不同，亞奈的版本剔除了乞丐。聖馬丁獨自看向他的左邊，漂浮的斗篷和舉起的配劍增添了超現實主義的感覺。

\n\n

亞奈重心構想的故事遊走在抽象和具象之間。整體模糊了前景和背景的界線，令人印象難忘。儘管構圖有著令人愉悅的色彩，它同時呈現出奇幻的基調，邀請觀者從當代的角度來思考這個故事：無私的奉獻變得越來越少了嗎？我們的社會是否已經變得如此追求成功，以至於沒有展示軟弱的空間？這幅簡約的數位平面畫作迫使觀者面對個人道德標準，效果簡潔有力。

\n\n

亞奈曾多次舉辦個展，包括：洛杉磯Harper’s Books畫廊（2023年）和柏林國王畫廊（2022年）。

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薇薇安．斯普林福德

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\n\n

薇薇安．斯普林福德(Vivian Springford)
\n《馬提尼克島系列》，1972- 1973年作
\n估價: 700,000 – 900,000港元
\n二十世紀及當代藝術日間拍賣，香港 10月7日

\n\n

\n
「[繪畫]嘗試與宇宙連結。我想找到自己的一小部分或能量，以有節奏的動態和色彩表達內心的我。宇宙、恒星和自然的廣闊中心是我在抽象術語中不斷面臨的挑戰。」— 薇薇安．斯普林福德
\n

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繪於1970年，薇薇安．斯普林福德的《馬提尼克島系列》是藝術家「一氣呵成之繪畫」的代表作，體現了其獨特染色技術：讓稀釋的丙烯酸顏料從畫布中心產生漣漪而一次完成的創作。受中國書法永恆性的概念影響，斯普林福德「一氣呵成」地不進行任何改變或修飾，實現傑出的漸變效果。在這個系列中，她用上明亮的色彩，周圍環繞著彩虹色調，呈現光環般的圓圈，猶如令人敬畏的熱情向外發射，濃烈艷麗。

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二十世紀及當代藝術日間拍賣相關詳情 >

\n","publishDate","2023-10-01T11:05:44.000000Z","authorCredit","Veronica Chow","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/132334596/art-auction-hong-kong-specialists-picks-the-sunset-series-cn","displayOrder","auctionEditorialID",1931,"editorialID",4344,"flocklerID",132334596,"https://flockler.com/thumbs/sites/889/sc-day-lead-52b4e3e3-dbd3-4da9-9b32-a811fb0f4291_s600x0.jpg","A thematic grouping of works characterised by vibrant hues used to explore various aspects of the natural world.","Specialists Picks: The Sunset Series","

Sarah Cunningham, Lunar Phase, 2020
\nEstimate HK$350,000 – 550,000
\n20th Century & Contemporary Art Day Sale, 7 October

\n\n

Throughout art history, nature’s ethereal beauty has been continuously explored by artists as an ever-captivating source of wonder. The Sunset Series, showcased within Phillips’ Hong Kong 20th Century and Contemporary Art Day Sale, brings together works characterised by vibrant hues used to portray various aspects of nature. It encompasses the works of widely acclaimed artists such as Sarah Cunningham, Miriam Cahn, Guy Yanai, Vivian Springford and many others. Come witness how nature continues to be a wellspring of inspiration.

\n\n

Sarah Cunningham

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Sarah Cunningham, Lunar Phase (detail), 2020
\nEstimate HK$350,000 – 550,000
\n20th Century & Contemporary Art Day Sale, 7 October

\n\n

Lunar Phase is an arresting example of Sarah Cunningham’s semi-abstract landscapes, which invite viewers into a world where the boundaries of reality and imagination are gracefully blurred. Lunar Phase is a vivid tapestry of burgundy and turquoise swirls, which give life to a glowing moon and undulating waves that appear to dance in rhythm with the painting’s expressive strokes. The vibrant colours and dynamic interplay of light and shadow evoke senses of movement, enveloping the viewer in an ethereal tableau where the horizon line tantalisingly evades capture.

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Renowned for her poetic and intuitive approach, Cunningham’s paintings are a harmonious blend of vibrant colours and expressive forms that explore the intricate relationship between nature and emotion.

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The unveiling of Lunar Phase at the 20th Century and Contemorary Art Day Sale marks a pivotal moment in the British artist’s career — her debut at auction in Asia. This stands as a testament to her growing international acclaim. Her meteoric rise and the recognition of her artistic prowess have been highlighted by successful solo shows and honours, with her works being featured in recent solo shows at prestigious galleries, such as Lisson Gallery in Seoul and Almine Rech in New York.

\n\n

Daisy Dodd-Noble

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\n\n

Daisy Dodd-Noble, Trees in Deia, 2021
\nEstimate HK $40,000 – 80,000
\n20th Century & Contemporary Art Day Sale, 7 October

\n\n

Daisy Dodd-Noble’s Trees in Deia immerses viewers into a fantastical landscape of cotton candy skies and wispy trees. The surrealist scene features a densely layered forest, stretched against a glorious sunset rendered in pastel shades of pink, orange, yellow, and violet. The work embodies Dodd-Noble’s exploration of an idyllic landscape where reality and the imagined coexist.

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The present work was painted from sketches during the artist’s residency in Mallorca with L21 Gallery in 2021 and was featured in the group exhibition, Desire and Anxiety, held at G/ART/EN Gallery in 2021. Dodd-Noble’s brushstrokes are soft and muted, evoking an ethereal landscape scene that seems at once familiar yet otherworldly. Trees in Deia marks a noticeable shift from the way in which she appropriates certain trees as caricatures to a more informed understanding of the native and non-native species, a move seen to address the pressing issues of climate change.

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Liang Yuanwei

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Liang Yuanwei, 2015.01, 2015
\nEstimate HK$1,200,000 – 2,200,000
\n20th Century & Contemporary Art Day Sale, 7 October

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\n
“I have always felt that truly great work should be silent like scenery. One experiences its deep meaning when one’s mind moves with it.”
\n—Liang Yuanwei
\n

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As a Chinese painter, Liang Yuanwei has emerged as a leading voice in contemporary art over the past decade. Her richly textured canvases, which recreate floral fabric patterns, shimmer with hints of bright colour, encapsulating the vibrant hues seen in sunsets. Her process-based approach to art-making is slow and laborious, as she constructs her paintings section by section, building up layers of paint applied so thickly that it shapes the surface in a way that appears almost sculpted.

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Liang Yuanwei’s work has been exhibited in numerous countries and prestigious venues, including the 54th Venice Biennale China Pavilion in 2011, Behind the Curtain at Palazzo Pisani during the Venice Biennale in 2017, and at Beijing Commune in 2022.

\n\n

Miriam Cahn

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\n\n

Miriam Cahn, Geträumt, 2004
\nEstimate HK$200,000 – 400,000
\n20th Century & Contemporary Art Day Sale, 7 October

\n\n

In Geträumt, Miriam Cahn’s pointed mountain scene transports viewers into a vibrant landscape perhaps inspired by the Swiss Alps near the artist’s home. Real or imagined, landscapes are a frequent theme in Cahn’s work, which she imbues with a sense of hope. The present work, rendered in fiery hues, is an intimate yet powerful demonstration of the artist's understanding of the emotive qualities of colour.

\n\n

Cahn’s journey into the realm of vivid colours began in 1994, driven by her fascination with the potent impact of mass media imagery. The transition to a more vibrant palette marked a significant evolution in her artistic style, enabling her to explore and emphasise the emotive qualities of colour more profoundly. Geträumt serves as a powerful testament to Cahn’s mastery in conveying emotion and depth through colour, demonstrating her nuanced understanding and appreciation of the myriad ways in which hues can evoke feelings and resonate with viewers.

\n\n

Cahn’s works have recently been presented in solo shows at prestigious institutions, including her first major retrospective which just took place at Palais de Tokyo in Paris (February–May 2023), as well as a show at Meyer Riegger, Berlin (2020).

\n\n

Guy Yanai

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\n\n

Guy Yanai, Saint Martin and the Beggar (after Sassetta), 2019
\nEstimate HK$150,000 – 250,000
\n20th Century & Contemporary Art Day Sale, 7 October

\n\n

Guy Yanai’s Saint Martin and the Beggar (after Sassetta) is a stunning example of the artist’s approach to geometric paintings. His use of coloured stripes of varying lengths and orientations showcases his signature smooth brushwork, achieved through his meticulous wielding of a palette knife and brush to attain levelled depths of field.

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The current piece, as its title suggests, references Il Sassetta’s 1433 artwork, where Saint Martin, depicted as a young Roman soldier, is about to share his cloak with a freezing beggar. However, Yanai's version presents a twist by omitting the beggar, leaving Saint Martin looking to his left in solitude, rendering the floating cloak and raised sword as elements of surrealism.

\n\n

Yanai’s reimagining of the story is both abstract, yet figuratively striking. He effortlessly blurs the line between foreground and background, offering an unforgettable piece. Despite the vibrant colours, Yanai infuses the narrative with a sense of fantasy, prompting viewers to reflect on modern-day values. It raises questions about the prevalence of selflessness in a success-driven society and whether there is any room left for vulnerability, forcing viewers to confront their own morality within this stylised, digital context.

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Yanai’s work has recently been shown in solo shows at Harper’s Books in Los Angeles (2023) and KÖNIG GALERIE, Berlin (2022).

\n\n

Vivian Springford

\n\n

\n\n

Vivian Springford, Martinique Series, 1972- 1973
\nEstimate HK$ 700,000 – 900,000
\n20th Century & Contemporary Art Day Sale, 7 October

\n\n

\n
“[Painting is an] attempt to identify with the universal whole... I want to find my own small plot or pattern of energy that will express the inner me in terms of rhythmic movement and colour. The expansive center of the universe, of the stars, and of nature is my constant challenge in abstract terms.”
\n—Vivian Springford
\n

\n\n

Painted in 1970, Vivian Springford’s Martinique Series is a prime example of her “one-shot paintings” that are created by her distinctive stain technique — which allows diluted acrylic washes to ripple out from the centre of the canvas. Influenced by the permanence of Chinese calligraphy, Springford achieves brilliant gradations in a single attempt without edits or alteration. Her use of vivid hues in this particular series, surrounded by splatters of rainbow colours, radiates in almost halo-like circles to form an awe-inspiring burst of passion that is both intense and beautiful.

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Discover More from 20th Century & Contemporary Art Day Sale >

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Intricately weaving otherworldly installations and artworks out of stretched yarn, Japanese artist Chiharu Shiota is well renowned for her artistic exploration of deeply personal themes such as life, death, dreams and fears. To her, threads represent connections that develop infinitely into complex webs, hinting at the wider interconnectedness between human experiences and the universe. By arranging them into deliberate shapes and patterns, Shiota encourages viewers to actively engage with and challenge common perceptions of physical boundaries, and human existence.
\n

\n\n

\"\" — Installation view at Taipei Fine Arts Museum, *The Soul Trembles*, 10 May ‐ 16 June 2021
\n

\n\n

\nThough less well known than her State of Being sculptural series or large-scale installations, Shiota’s works on paper form an integral part of the artist’s oeuvre. Notably, a number of her drawings were included in The Soul Trembles, her largest retrospective to date which travelled from the Mori Art Museum, Tokyo to Busan, Taipei, Shanghai, Brisbane and Jakarta. Differing from the use of abstraction and absence in her three-dimensional works, the artist’s drawings present a more visceral depiction of connections and emotions. In Face, the central figure in shrouded in dark shadows shaded with watercolour and pencil. Making use of black and red threads, Shiota not only adds volume to its flat surface, but physically traps the protagonist in a suffocating tangle of yarn. Hauntingly beautiful, the viewers too become trapped in the artist’s visions, entwined in the layered webs of tension, personal identity and anxiety.

\n\n

"My creations with thread are reflections of my own feelings. A thread can be a cut, a knot or a loop, or can be loose or sometimes tangled. A thread to me is an analogy for feelings or human relationships. When using it, I do not know how to lie. If I weave something and it turns out to be ugly, twisted, or knotted, then such must have been my feelings when I was working." — Chiharu Shiota

\n\n

\nShiota was born in 1972 in Osaka, and currently works in Berlin after studying in both Japan and Germany. She represented Japan at the Venice Biennale in 2015. Recent solo exhibitions of her work include Signs of Life (2023), Galerie Templon, New York; Invisible Line (2022), Aros Museum, Aarhus; Silent Word (2022), Schauwerk Sindelfingen; Shiota Chiharu: The Soul Trembles (2021), Taipei Fine Arts Museum, Taiwan and Long Museum, Shanghai

\n\n

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莎拉．坎寧安

莎拉·坎寧咸 (Sarah Cunningham)，《月相》，2020年作\n估價: 350,000 – 550,000港元\n二十世紀及當代藝術日間拍賣，香港 10月7日

黛西．多德．諾布爾

黛西·多德·諾布爾 (Daisy Dodd-Noble)\n《德亞的樹林》， 2021年作\n估價: 40,000 – 80,000港元\n二十世紀及當代藝術日間拍賣，香港 10月7日

梁遠葦

梁遠葦， 《2015.01》，2015年1月作\n估價: 1,200,000 – 2,200,000港元\n二十世紀及當代藝術日間拍賣，香港 10月7日

米利亞姆‧卡恩

米利亞姆‧卡恩(Miriam Cahn)\n《幻山》，2004年8月16日作\n估價: 200,000 – 400,000港元\n二十世紀及當代藝術日間拍賣，香港 10月7日

蓋．亞奈

蓋．亞奈(Guy Yanai)\n《聖馬丁與乞丐（追隨在薩塞達之後）》， 2019年作\n估價: 150,000 – 250,000港元\n二十世紀及當代藝術日間拍賣，香港 10月7日

薇薇安．斯普林福德

薇薇安．斯普林福德(Vivian Springford)\n《馬提尼克島系列》，1972- 1973年作\n估價: 700,000 – 900,000港元\n二十世紀及當代藝術日間拍賣，香港 10月7日

Sarah Cunningham

Sarah Cunningham, Lunar Phase (detail), 2020\nEstimate HK$350,000 – 550,000\n20th Century & Contemporary Art Day Sale, 7 October

Daisy Dodd-Noble

Daisy Dodd-Noble, Trees in Deia, 2021\nEstimate HK $40,000 – 80,000\n20th Century & Contemporary Art Day Sale, 7 October

Liang Yuanwei

Liang Yuanwei, 2015.01, 2015\nEstimate HK$1,200,000 – 2,200,000\n20th Century & Contemporary Art Day Sale, 7 October

Miriam Cahn

Miriam Cahn, Geträumt, 2004\nEstimate HK$200,000 – 400,000\n20th Century & Contemporary Art Day Sale, 7 October

Guy Yanai

Guy Yanai, Saint Martin and the Beggar (after Sassetta), 2019\nEstimate HK$150,000 – 250,000\n20th Century & Contemporary Art Day Sale, 7 October

Vivian Springford

Vivian Springford, Martinique Series, 1972- 1973\nEstimate HK$ 700,000 – 900,000\n20th Century & Contemporary Art Day Sale, 7 October

莎拉·坎寧咸 (Sarah Cunningham)，《月相》，2020年作
\n估價: 350,000 – 550,000港元
\n二十世紀及當代藝術日間拍賣，香港 10月7日

黛西·多德·諾布爾 (Daisy Dodd-Noble)
\n《德亞的樹林》， 2021年作
\n估價: 40,000 – 80,000港元
\n二十世紀及當代藝術日間拍賣，香港 10月7日

梁遠葦，《2015.01》，2015年1月作
\n估價: 1,200,000 – 2,200,000港元
\n二十世紀及當代藝術日間拍賣，香港 10月7日

米利亞姆‧卡恩(Miriam Cahn)
\n《幻山》，2004年8月16日作
\n估價: 200,000 – 400,000港元
\n二十世紀及當代藝術日間拍賣，香港 10月7日

蓋．亞奈(Guy Yanai)
\n《聖馬丁與乞丐（追隨在薩塞達之後）》， 2019年作
\n估價: 150,000 – 250,000港元
\n二十世紀及當代藝術日間拍賣，香港 10月7日

薇薇安．斯普林福德(Vivian Springford)
\n《馬提尼克島系列》，1972- 1973年作
\n估價: 700,000 – 900,000港元
\n二十世紀及當代藝術日間拍賣，香港 10月7日

Sarah Cunningham, Lunar Phase (detail), 2020
\nEstimate HK$350,000 – 550,000
\n20th Century & Contemporary Art Day Sale, 7 October

Daisy Dodd-Noble, Trees in Deia, 2021
\nEstimate HK $40,000 – 80,000
\n20th Century & Contemporary Art Day Sale, 7 October

Liang Yuanwei, 2015.01, 2015
\nEstimate HK$1,200,000 – 2,200,000
\n20th Century & Contemporary Art Day Sale, 7 October

Miriam Cahn, Geträumt, 2004
\nEstimate HK$200,000 – 400,000
\n20th Century & Contemporary Art Day Sale, 7 October

Guy Yanai, Saint Martin and the Beggar (after Sassetta), 2019
\nEstimate HK$150,000 – 250,000
\n20th Century & Contemporary Art Day Sale, 7 October

Vivian Springford, Martinique Series, 1972- 1973
\nEstimate HK$ 700,000 – 900,000
\n20th Century & Contemporary Art Day Sale, 7 October

140

Chiharu Shiota

Face

Further Details

Full-Cataloguing

Chiharu Shiota