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41

Property from an Important European Collector

Bird House

1996
signed, titled and dated 'Peter Doig "BIRD HOUSE" 96' on the reverse.
oil on panel
48 x 35 cm (18 7/8 x 13 3/4 in.)
Painted in 1996.

Estimate
HK$2,000,000 - 3,000,000 
€241,000-361,000
$256,000-385,000

sold for HK$5,360,000

Contact Specialist
Jonathan Crockett
Deputy Chairman, Asia and Head of 20th Century & Contemporary Art, Asia
+852 2318 2023

Sandy Ma
Specialist, Head of Evening Sale
+852 2318 2025

General Enquiries
+852 2318 2000

  • Provenance

    Sprüth Magers Lee, London
    McCabe Fine Art, Stockholm
    Private Collection
    Phillips, London, 14 October 2015, lot 3
    Acquired at the above sale by the present owner

  • Exhibited

    London, Ridinghouse Editions, Peter Doig- Small Paintings, 11 December 1996 - 25 January 1997

  • Catalogue Essay

    Peter Doig’s paintings exude an otherworldly quality, and represent alluring syntheses of the artist’s nostalgia and adept mastery and melange of painting and photographic realism. Bird House, painted in 1996, is a beautiful ode to the artist’s memories of snowy Canada, a country in which he spent his formative years, characterised by an itinerant childhood and subsequent adult life, moving between Scotland, Canada, England, and Trinidad.

    Bird House hails from an extremely desirable period of Doig’s works, during which time he produced his most sought-after snowscapes. These works from the 1990s foreshadowed Doig’s quick rise to critical acclaim, highlighted by his Whitechapel Artist Award in 1991, and his becoming a Trustee of the Tate Gallery in 1995.

    In the early 1990s the artist began creating pieces that depicted motifs of snow and skiing: works which were at once figurative and fantastical, and intensely retrospective. “I often paint scenes with snow because snow somehow has this effect of drawing you inwards and is frequently used to suggest retrospection and nostalgia and make-believe.” (Peter Doig, quoted in Paul Bonaventura, “A Hunter in the Snow,” Artefactum 9, 1994, p.12) This nostalgic propensity for retrospection can perhaps be likened to his steadfast commitment to painting: then a refreshing contrast to the works of his peers in the 1990s, typified by shock tactics and a stark presentational mien. Doig’s ardent study of modern masters such as Claude Monet, Edvard Munch, and Paul Gauguin is thus self-evident in Bird House.

    In the present work, the titular bird house is engulfed by a spectacular web of gnarling branches, a testament to Doig’s endless fascination with portraying areas on the periphery of civilisation, where an unbridled nature comes to the fore but equally where the presence of Man leaves a small but noticeable imprint. The spindly lines that sprawl outwards in the top half of the canvas create an impenetrable web of fractal lines, denying the viewer access to the fence in the background. The collapsed and compressed image is at once abstract, an effect achieved by Doig’s painterly method of working ‘backwards’ when creating his works—beginning with the foreground’s birdhouse, extended rope, and the tree bark, he then works into the painting, filling in the gaps between the branches, and adding in the fence.

    The muted hues of pinks, blues, and yellow are immediately reminiscent of Monet’s snowscapes, an influence which the artist himself has noted as important. Set against the tactile, grainy wooden panel, Bird House is meticulously rendered, and imbued with a hallucinatory or dreamlike quality. Doig’s careful selection of hues and varying levels of saturation of pigments, as well as light, fluid brushstrokes injects the piece with a palpable surrealism, a quality that is undeniably Doig, and which has earned him his title as the painter’s painter.

  • Catalogue Essay

    彼得.多伊格的畫作非比尋常,他將個人的念舊情懷及對繪畫和攝影現實主義的精湛掌握和融會貫通出色地混為一體。1996年完成的《鳥屋》,是對雪中加拿大的記憶所作的頌讚。多伊格在童年和隨後的成年生活中一直遊走於蘇格蘭、加拿大、英格蘭和千里達之間,而他的成長階段就是在加拿大度過。 《鳥屋》出自多伊格作品的輝煌時期,那段期間他創造了最受歡迎的雪景畫作。這些1990年代的作品預示了多伊格在備受好評中迅速崛起,至1991年他獲得白教堂藝術家大獎,再於1995年成為泰特美術館的受託人。 1990年代初,多伊格開始在作品中描繪雪和滑雪的景象,使畫作同時具有比喻、幻想以及強烈追溯的味道。 「我經常繪畫雪景,因為雪可以將你引進內心深處,並經常令人聯想起回顧、懷舊和假象。 」(多伊格,引自保羅.博納文圖拉著,〈雪中獵人〉,《藝術作品》第9期,1994年,第12頁)這種回顧的懷舊傾向也許可與他對繪畫的堅定投入相媲美,並與1990年代同行當中慣以震撼及明確表現手法為特色的作品形成鮮明對比。多伊格對現代大師如克勞德.莫奈、愛德華.蒙克和保羅.高更熱切研究的心得在《鳥屋》中可見一斑。 在這幅畫中,作為主旨的鳥屋被錯綜複雜的樹枝包圍,反映出多伊格對描畫文明邊緣部分的無窮迷戀。在這裡放任的大自然成為主導,但正正在這裡人類的存在亦留下了一個細小但明顯的印記。向外擴展的幼線在畫布上半部形成一幅不可逾越的網,將觀眾與背景中的圍欄隔開。折疊和壓縮的圖像立時變得抽象,這是通過多伊格創作時利用「逆向」繪畫方法所實現的一種效果 — 從前景的鳥屋、延伸的繩索和樹皮開始,然後深入畫中,填滿樹枝間的間隙,並加入圍欄。 低調的粉紅、藍色和黃色讓人立即聯想起莫奈的雪景,這是多伊格本人所認同的重要影響。繪畫在粗糙木板上的《鳥屋》,以匠心獨運的畫工,給人如夢如幻的感覺。多伊格精心挑選的色調和顏料的混搭,加上輕柔流暢的筆觸,讓超現實主義色彩活現畫中。這種多伊格的獨特風格,為他贏得「畫家中的畫家」的稱號。

  • Artist Bio

    Peter Doig

    Scottish • 1959

    Peter Doig is widely considered one of the most renowned contemporary figurative painters. Born in Scotland and raised in Trinidad and Canada, Doig achieved his breakthrough in 1991 upon being awarded the prestigious Whitechapel Artist Prize and receiving a solo exhibition at the Whitechapel Art Gallery in London.

    Doig draws on personal memories and source imagery in his pursuit of exploring the slippage between reality, imagination and memory through painting. The material properties of paint and expressive possibilities of color thereby serve to approximate the foggy, inarticulate sensation of remembering. His practice maintains a thin and balanced line between landscape and figure, superimposing photographic imagery and memories, both real and imagined.

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41

Property from an Important European Collector

Bird House

1996
signed, titled and dated 'Peter Doig "BIRD HOUSE" 96' on the reverse.
oil on panel
48 x 35 cm (18 7/8 x 13 3/4 in.)
Painted in 1996.

Estimate
HK$2,000,000 - 3,000,000 
€241,000-361,000
$256,000-385,000

sold for HK$5,360,000

Contact Specialist
Jonathan Crockett
Deputy Chairman, Asia and Head of 20th Century & Contemporary Art, Asia
+852 2318 2023

Sandy Ma
Specialist, Head of Evening Sale
+852 2318 2025

General Enquiries
+852 2318 2000

20th Century & Contemporary Art & Design Evening Sale

Hong Kong Auction 28 May 2017

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