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拍賣 2024年11月26日
\n香港時間下午2:00
\n

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香港九龍西九文化區柯士甸道西8號西九文化區管理局大樓G/F （地圖）
\n
\n預展 11月16至26日
\n上午11:00-下午7:00
\n

\n\n

參閱富藝斯業務規定 >
\n

\n","auctionDetailsSmall","香港拍賣 2024年11月26日","extraInfo","

雪鸞
\n客戶咨詢總監
\ncharlotteraybaud@phillips.com
\n+852 2318 2058
\n+44 7833 471 016
\n

\n","enableHighlightsView","enableOnlineCatalogue","endSale",true,"hideSoldLots","isChineseTranslate","isExhibition","isLiveAuction","isMixedAuction","makeLive","showAdvanceBidButton","showArtCollector","showBuyButton","showCatalogueDownloadLink","showInquireButton","showPrintCatalogueSection","showRegistrationLink","showSaleOffers","showSoldPrice","lots",[246,247,248,249,250,251,252,253,254,255,256,257,258,259,260,261,262,263,264,265,266,267,268,269,270,271,272,273,274,275,276,277,278,279,280,281,282,283,284,285,286,287,288,289,290,291,292,293,294,295,296,297,298,299,300,301,302,303,304,305,306,307,308,309,310,311,312,313,314,315,316,317,318,319,320,321,322,323,324,325,326,327,328,329,330,331,332,333,334,335,336,337,338,339,340,341,342,343,344,345,346,347,348],"viewing",{"_241":242,"_243":244,"_48":245},"articles",[182,183,184,185],"departments",[175],"auctionCurrency",{"_172":72,"_173":174},{"_161":49,"_162":163,"_164":165,"_166":167,"_168":169,"_170":171},"totalLotCount",103,"auctionMobilityAuctionRowId","1-8SOWCC","auctionUrl","https://www.phillips.com/auction/HK010524","auctionResultsFile","https://www.dist.phillips.com/content/web/auction-results/auctionResultsFile_HK010524.pdf","countryName","countryCode","HK","line1","G/F, WKCDA Tower","line2","West Kowloon Cultural District","line3","No. 8 Austin Road West","city","Kowloon","currencyCode","currencySign","HK$",{"_176":177,"_178":179,"_180":181},"departmentId",1,"departmentName","Contemporary","departmentDisplayName","Modern & Contemporary Art",{"_186":232,"_188":181,"_189":233,"_16":234,"_192":235,"_194":236,"_196":217,"_198":199,"_200":201,"_202":237,"_204":201,"_206":238,"_208":239,"_210":240},{"_186":223,"_188":181,"_189":224,"_16":225,"_192":226,"_194":227,"_196":197,"_198":199,"_200":201,"_202":228,"_204":177,"_206":229,"_208":230,"_210":231},{"_186":212,"_188":181,"_189":213,"_16":214,"_192":215,"_194":216,"_196":217,"_198":199,"_200":201,"_202":218,"_204":219,"_206":220,"_208":221,"_210":222},{"_186":187,"_188":181,"_189":190,"_16":191,"_192":193,"_194":195,"_196":197,"_198":199,"_200":201,"_202":203,"_204":205,"_206":207,"_208":209,"_210":211},"coverUrl","https://flockler.com/thumbs/sites/889/hk-mca-sin-may-thumbnail-b65e85e0-b4ce-4528-9e3a-623782cb219-2366471b-03ca-48db-912b-59c986a9f2cc_s600x0.jpg","section","summary","此系列作品源自趙無極愛女典藏，講述一個交織家庭、友誼與熱愛藝術的故事。","趙善美珍貴典藏","body","

富藝斯現代及當代藝術部國際專家Clara Rivollet於巴黎觀賞趙無極1970年作品《27.6.70》。

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富藝斯將於11月舉辦的香港日間拍賣中，隆重呈獻趙無極的傑作，源自愛女趙善美珍貴典藏系列。

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此系列作品展示了藝術家最具實驗性和創新性的面向，並與分別來自皮耶．蘇拉吉（Pierre Soulages）和愛德華多．奇利達（Eduardo Chillida）的另外兩件作品一道展出，而這兩位藝術家均為趙無極的同儕及摯友。

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趙善美本人也是巴黎文藝界知名文化人物，自1960 年代起成為明星時尚設計師皮爾．卡丹（Pierre Cardin）密切合作的著名模特兒。繼2022年與富藝斯香港首次合作以來，趙女士再次委託本行展示個人珍藏，並將其帶來香港——這是她母親的家鄉，對趙家而言意義非凡。

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香港是我和母親的故鄉，也是父母相識的地方，因此我對這座城市情有獨鍾。
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—趙善美
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趙無極的創作典範

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趙無極《27.6.70》1970年作。現代及當代藝術香港日間拍賣

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瀏覽拍品編號139 >

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此系列由《27.6.70》領銜，其中具有趙無極親筆簽名和「獻給善美爸爸」（Pour Sin-May Papa）題詞，也是展示藝術家創作和私人生活的寶貴明證，將深切的關懷與愛意蘊藏在筆觸之中。《27.6.70》體現了眾多暗流的交匯與碰撞，揭示了趙無極多面的藝術，以及對新意義的不懈探索。

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趙無極《無題》2008年作。現代及當代藝術香港日間拍賣

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瀏覽拍品編號138 >

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憑藉個人魅力與無庸置疑的才華，趙無極在一生中與不少藝術家及具影響力的文化人物建立了廣大交際網絡，成為該世代最著名的畫家之一。他與多位藝術家建立了密切的關係，包括尚–保羅．利奧佩爾（Jean-Paul Riopelle）、亞伯特．賈科梅蒂（Alberto Giacometti）、胡安．米羅（Joan Miró）、漢斯．哈同（Hans Hartung）、瓊．米丘（Joan Mitchell）、山姆．弗朗西斯（Sam Francis），以及貝聿銘（I.M. Pei）等。

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系列中，兩件作品聚焦趙無極與皮耶．蘇拉吉及愛德華多．奇利達的關係。

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皮耶．蘇拉吉

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皮耶·蘇拉吉《膠印版畫第33號》1974年作。現代及當代藝術香港日間拍賣

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瀏覽拍品編號205 >

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蘇拉吉與趙無極在居住巴黎期間成為好友，而其富有表現力的原始創作方式對趙無極產生了深遠的影響。後來兩人一同前往美國，期間蘇拉吉向趙無極介紹紐約藝術界。這段經歷與美國抽象表現主義運動的接觸，進一步影響了趙無極的創作。

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愛德華多．奇利達

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愛德華多·奇利達《古式》1973年作。現代及當代藝術香港日間拍賣

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瀏覽拍品編號206 >

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趙無極與西班牙藝術家奇利達亦有深厚友誼和相互欽佩，而兩位藝術家在各自的創作領域中不斷突破界限。2004年，在奇利達逝世後，趙無極創作了以《向奇利達致敬》（Hommage à Chillida）為題的畫作，進一步鞏固了他們之間的聯繫。

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趙無極對後世的影響

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趙無極《無題》1990年作。現代及當代藝術香港日間拍賣

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瀏覽拍品編號207 >

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備受讚譽的畫作以外，趙無極在職業生涯中也不斷回歸版畫創作。其版畫作品展示了他對光與色的細緻研究，令創作過程中的書法痕跡和色彩層次清晰可見。今年三月，趙無極的夫人，也是法籍策展人及趙無極基金會主席弗朗索瓦．馬爾凱（Françoise Marquet-Zao），將逾220件獨立版畫和樣本作捐贈香港M+博物館，而蒐羅趙無極各職業生涯階段的上乘版畫展覽亦在籌備之中。

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作為一位融合多種文化影響，以及創造個人獨特藝術語言的全球藝術家，趙無極的作品如今已被收藏於超過150個公共收藏機構，遍及200多個國家，包括：紐約現代美術館、紐約古根海姆美術館、倫敦泰特現代美術館等多個重要機構。

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趙無極《無題》1976年作。現代及當代藝術香港日間拍賣

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瀏覽拍品編號208 >

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2022年初，趙善美將12件父親的作品慷慨捐贈予香港M+博物館，該館如今擁有歐洲以外最大規模的趙無極作品收藏之一。捐贈作品包括九幅版畫、兩幅油畫和一幅水彩畫，創作時期涵蓋了1945至2005年，幾乎橫跨趙無極整個職業生涯。

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趙無極《無題》1968年作。現代及當代藝術香港日間拍賣

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瀏覽拍品編號209 >

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由於以上作品的來源與趙無極及其家族直接相關，此系列為藏家和藝術愛好者提供了前所未有的機會，近距離接觸這位頂尖大師的藝術遺產。

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更多拍賣詳情 >

\n","publishDate","2024-11-19T08:05:53.000000Z","authorCredit","Veronica Chow","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/151763922/the-precious-collection-of-sin-may-roy-zao-cn","displayOrder",3,"auctionEditorialID",5013,"editorialID",4771,"flocklerID",151763922,"https://flockler.com/thumbs/sites/889/hk-mca-sin-may-thumbnail-b65e85e0-b4ce-4528-9e3a-623782cb2191_s600x0.jpg","Works from the collection of Zao Wou-Ki’s daughter tell the story of a family, friendship, and the love of art.","The Precious Collection of Sin-May Roy Zao","

Clara Rivollet — International Specialist, Modern & Contemporary Art — views Zao Wou-Ki, 27.6.70, 1970 in Paris.

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In this November’s Hong Kong Day Sale, Phillips is pleased to offer exceptional works from the collection of Zao Wou-Ki's daughter, Sin-May Roy Zao.

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The selection includes works that showcase the most experimental and innovative facets of Zao’s oeuvre, together with works by the artist’s contemporaries and friends, Pierre Soulages and Eduardo Chillida.

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Sin-May Roy Zao herself enjoyed success as a high-profile cultural figure in Paris. As a pioneering model, she worked closely with the iconic fashion designer Pierre Cardin beginning in the 1960s. Following her first collaboration with Phillips Hong Kong in 2022, Sin-May once again shares memorable works with contemporary art lovers, bringing them to Hong Kong — her city of birth, which holds special significance for both her and her father.

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Hong Kong is where my mother and I came from and where my parents met, so the city always holds a special place in my heart.
\n—Sin-May Roy Zao
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A Masterpiece by Zao Wou-Ki

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Zao Wou-Ki, 27.6.70, 1970. Modern & Contemporary Art Hong Kong Day Sale.

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Discover Lot 139 >

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Leading the selection of works is 27.6.70, which Zao signed not only with his artist’s signature but also endearingly inscribed “Pour Sin-May Papa (For Sin-May Papa).” This work is a precious testament to the more intimate aspects of the artist’s work and life, revealing the profound care and love he infused into his brush. 27.6.70 embodies the many undercurrents that coincided and collided to reveal Zao’s multifaceted art and its constant search for new meanings.

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Zao Wou-Ki, Untitled, 2008. Modern & Contemporary Art Hong Kong Day Sale.

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Discover Lot 138 >

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With his charm and unquestionable talent, Zao cultivated an extensive circle of friendships with fellow artists and influential cultural figures during his lifetime, becoming one of the best-known painters of his generation. He developed close relationships with several artists, including Jean-Paul Riopelle, Alberto Giacometti, Joan Miró, Hans Hartung, Joan Mitchell, Sam Francis, and I.M. Pei, among many others.

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In this selection, Zao’s relationships with Pierre Soulages and Eduardo Chillida come into focus.

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Pierre Soulages

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Pierre Soulages, Lithographie No. 33, 1974. Modern & Contemporary Art Hong Kong Day Sale.

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Discover Lot 205 >

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Pierre Soulage and Zao Wou-Ki became friends when they were both living in Paris. Soulage’s expressive, primordial approach profoundly influenced Zao Wou-Ki, and Soulages later introduced Zao to the New York art scene as they traveled together. This experience and exposure to the American Abstract Expressionist movement would further impact Zao’s work.

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Eduardo Chillida

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Eduardo Chillida, Artzapar, 1973. Modern & Contemporary Art Hong Kong Day Sale.

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Discover Lot 206 >

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Zao Wou-Ki and Spanish artist Eduardo Chillida also shared a deep connection and mutual admiration. Both artists pushed the boundaries of their respective mediums, and Zao solidified their connection in his own painting Hommage à Chillida, created in 2004 after Chillida's passing.

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Zao Wou-Ki’s Legacy

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Zao Wou-Ki, Untitled, 1990. Modern & Contemporary Art Hong Kong Day Sale.

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Discover Lot 207 >

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In addition to his lauded painting practice, Zao Wou-Ki returned to printmaking throughout his career. His prints showcase his careful study of light and colour, making visible the calligraphic traces and layers of colour in his process. This past March, Zao's wife, Madame Françoise Marquet-Zao — a French curator and president of Fondation Zao Wou-Ki — donated more than 220 independent prints and proofs to the M+ Museum in Hong Kong. An exhibition is planned that will showcase Zao's prolific printmaking at every stage of his career.

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As a global artist who synthesized various cultural influences into his own unique voice, Zao’s work can also now be found in over 150 public collections across 200 countries — including the Museum of Modern Art and the Guggenheim in New York, the Tate Modern in London, and many more.

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Zao Wou-Ki, Untitled, 1976. Modern & Contemporary Art Hong Kong Day Sale.

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Discover Lot 208 >

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In early 2022, Sin-May Roy Zao generously donated twelve works by Zao Wou-Ki to the M+ Museum, which now holds one of the largest collections of the artist’s work outside of Europe. The selection included nine prints, two oil paintings, and one watercolour painting, ranging from 1945 to 2005, nearly spanning Zao’s entire professional career.

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Zao Wou-Ki, Untitled, 1968. Modern & Contemporary Art Hong Kong Day Sale.

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Discover Lot 209 >

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With provenance linked so directly to Zao Wou-Ki and his family, this selection of works offers collectors and art lovers the unprecedented opportunity to be close to the extraordinary artist’s legacy.

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Discover More from Modern & Contemporary Art >

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\n","2024-11-14T21:33:33.000000Z","Jesse Limbacher","https://www.phillips.com/article/151557869/the-precious-collection-of-sin-may-roy-zao-hong-kong-auction",2,5012,4767,151557869,"https://flockler.com/thumbs/sites/889/hk-lead-november-2024-e6ba0eac-37d3-4ec0-8861-57fedc88ed2c-f47cfaf9-037c-416b-802c-cbbd2bd54545_s600x0.jpg","在本季富藝斯香港拍賣中，一場跨越風格與時代的澎拜旅程徐徐展開。","東南亞藝術世界中千絲萬縷的關係","

勒邁耶《荷花池旁》。現代及當代藝術香港晚間拍賣

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東南亞藝術是風格與影響交織而成的馬賽克，每件作品均是該地區多元文化傳承的見證。富藝斯香港現代及當代藝術拍賣將會展現箇中的豐盛多樣，呈現具象與現代主義先驅的悠久傳承、抽象藝術的多層次內涵，以及當代藝術家的大膽表現。

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從勒邁耶對峇里島景象的生動描繪，到黎譜將東西方美學和諧融合的傑作，每件拍品都構成了更廣闊敘事的一部分，共同編織出該區豐富而多面的藝術遺產。

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傳統與現代的交匯

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勒邁耶《荷花池旁》。現代及當代藝術香港晚間拍賣

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勒邁耶（Le Mayeur）出生於比利時，1930年代在印尼峇里島發現他的繆斯，其後定居該島。他的作品在東南亞藝術中舉足輕重，展現了西方印象派技巧與峇里主題的獨特融合。《荷花池旁》是勒邁耶的作品典範，捕捉了峇里自然景觀及人民生活之靜美，同時描繪了藝術家和妻子兼繆斯、峇里舞者Ni Pollok共享的家用蓮花池。

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勒邁耶於1932年抵達峇里時，原本僅打算停留數月；但他如此著迷於這座島嶼，沉醉在島上繁茂的風景和峇里大自然與傳統文化的交織，最終在那裡度過餘生，並發現一片遠離西方工業世界的天地。

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峇里島是勒邁耶的創作天堂，他將西方印象派技巧與當地主題結合，而如此獨有結合將峇里島文化呈上國際藝術舞台。他對熱帶光線和日常生活節奏的迷戀在畫中有跡可尋，尤其於池塘平靜水面上更是熠熠生輝。此次拍品的調色板以粉紅、綠色和大地色等暖色調為主，描繪了峇里島婦女在茂密的熱帶植被中，專注於寧靜而優雅的活動。作為一位光影畫家，勒邁耶對光線與動態的巧妙刻畫，也是個人風格的標誌，展現了他與周圍環境的深厚聯繫，以及他對峇里文化的深深欽佩。

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黎譜《梳妝》約1938-1939年作。現代及當代藝術香港晚間拍賣

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作為越南現代主義的重要代表人物，黎譜（Lê Phổ）糅合了越南傳統藝術與他在巴黎接觸到的現代主義技法，而《梳妝》正正展現了他將東西方美學和諧融合的獨特能力。

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此次拍品以水墨、水粉、絹本為媒材，捕捉兩位女性晨起儀式的親密場景。一位有著芭蕾般優美的姿態並端坐著，手持朱紅色化妝盒，頭輕輕傾斜；另一位仕女身著亮黃色奧黛（áo dài），站在女子身後輕輕撩起女子的頭髮為其打理。構圖散發著恬靜優雅的氛圍，精緻地呈現了處於傳統與現代交界處的永恒一瞥。

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黎譜曾於河內印度支那美術學院接受培訓，隨後在巴黎建立了他的藝術生涯，成為越南的文化大使。他的作品深刻反映了他對自身傳統的聯繫，而這點在畫中人物所穿的越南傳統服飾奧黛中表露無遺，同時也展現了歐洲現代主義的影響。扁平化視角、細緻的服飾圖案，以及柔和的色調為畫面增添了一種飄逸的質感，完美體現了定義個人風格的文化與藝術雙重性。

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左：李曼峯《仕女坐像》。右：李曼峯《女子坐像》。現代及當代藝術香港日間拍賣

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李曼峯出生於中國，在東南亞成長，並於荷蘭接受藝術訓練，詮釋了多元文化身份的融合。他的作品經常聚焦於印尼原住民寧靜的鄉村生活，以柔和的色調與靜謐的氛圍展現其主題的田園之美。同時，他的構圖顯露出他的中國根源，有著顯著的跨文化嘗試，把原住民文化與其所生活的文化互相結合。

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兩件李曼峯的拍品《仕女坐像》和《女子坐像》皆為跨文化實踐的典範。兩件拍品為印尼原住民婦女的肖像畫，它們皆以鄉村的景色作為背景。藝術家特意採用了中國畫裏常見垂直的構圖，兩件拍品中精緻的光源和柔和飽滿的樹枝，交織出一種冥想般的質感，進一步深化藝術家向中國畫以及其根源的致敬。與此同時，李曼峯筆下的人物形態特徵與荷蘭古典大師相似，巧妙地透過光影對比來傳達情感，結合西方技法與東方美學。

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李曼峰將這些藝術傳統融會貫通，創作出超越文化界限的作品，深具感染力。他的肖像畫不僅是視覺上的再次呈現，更是對田園生活的詩意反思，通過多元文化的視角捕捉出東南亞的精髓。

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探索抽象藝術

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阿旺·達密·阿麥德《向北：萬物始於寂靜》2010年作。現代及當代藝術香港日間拍賣

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阿旺·達密·阿麥德（Awang Damit Ahmad）是馬來西亞抽象表現主義的代表藝術家，其作品與東南亞的社會文化脈絡緊密相連。《向北：萬物始於寂靜》（Perjalanan Utara）出自其備受讚譽的「東北風」（Iraga）系列，探討自然、記憶與身份等主題。這幅畫作隱約浮現漁家捕魚的光景，捕捉了馬來西亞沿海生活的原始力量。本作在粗黑線條之上叠加藍、白與紅的色彩層次，讓人聯想到暴雨與風暴的東北季風，對北回歸線附近的捕魚活動影響巨大。層層堆疊的質感與抽象的形態為作品注入了情感，反映出藝術家將個人經歷轉化為普世敘事的能力。

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阿麥德的創作體現了抽象表現主義與本地敘事的融合，這也個人其藝術風格的鮮明特徵。儘管形態上偏向抽象，但他的作品迴響著東南亞景觀與文化傳統的律動，將個人記憶與民族身份轉化為一種普遍的視覺語言。上述獨特的融合也使他成為馬來西亞後殖民藝術演進的核心人物之一。

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同時，這是富藝斯首次呈獻阿旺·達密·阿麥德的作品，標誌著藝術家在國際藝術舞台的里程碑。其作品備受推崇，廣被私人及機構收藏，包括馬來西亞國家視覺藝術畫廊、馬來西亞中央銀行，以及位於吉隆坡國油雙子塔的國油藝廊。

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鐘泗賓《抽象景》1977年作。現代及當代藝術香港日間拍賣

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鐘泗賓是新加坡現代藝術的先驅人物，展現了多元文化與藝術影響的融合。自1946年遷居新加坡以來，鐘泗賓在其中國水墨及西方油畫的基礎上，專注表現東南亞本土主題，開創了代表性「南洋畫派」。他的早期作品展現優雅的馬來亞及峇里島女性及其生活日常，平衡了東西方藝術的傳統。然而，鐘泗賓大膽跳脫其固有的具象繪畫，在1960年代歐旅歸來後，涉足全新的抽象藝術領域，重新定義了個人藝術實踐。

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《抽象景》創作於1977年，標誌著鐘泗賓抽象藝術創作的重要階段。這幅畫整體背景以單調的藍色為主，其中填滿相互重疊交錯的四邊形，讓人思考此時新加坡高歌猛進的工業化城市化進程所帶來的種種影響。鐘泗賓將工業物品的有形物質性轉化為二維繪畫元素，進一步將城市景觀的表現，抽象為形式之相互作用。畫中的幾何秩序和深淺不一的色彩相得益彰，混同白色和灰色，以此營造出平衡感和韻律感，吸引觀眾靜心觀賞。

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鐘泗賓的多元探索橫跨媒材、主題和風格，奠定他作為文化實驗先鋒的地位。其作品遊走於傳統與新方法、東方與西方、具象與抽象之間，如今已被多個著名私人及公共機構永久收藏。

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當代聲音

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羅比·迪·安東諾《長著甲殼動物利爪的小女孩》2023年作。現代及當代藝術香港日間拍賣

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羅比·迪·安東諾在1990年出生於印尼，自學成才，也是位冉冉升起的當代藝術新星，以獨特視覺語言著稱。他的作品風格融合了超現實主義與古典文藝復興時期的夢幻意象，喚起了既懷舊又深刻內省的驚奇感。

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《長著甲殼動物利爪的小女孩》展示了安東諾的標誌性風格，畫中的星眸孩子與神話生物構成了夢幻般的畫面。以溫暖昏暗的色調呈現；這幅畫捕捉了一種奇異又富有沉思的氛圍，編織出既神秘又深具個人色彩的敘事。受印尼文化遺產的啟發，安東諾創作的作品在表現普世主題的同時，橋接了本土文化的特定性與全球吸引力。

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安東諾的敘事方式與對於超現實主義的視野重新定義了東南亞當代藝術的邊界，同時將他穩固地定位於全球藝術的語境之中。他的作品深受藏家青睞，並在全球廣泛展示，例如東京、洛杉磯、法蘭克福、墨爾本，以及2021年香港巴塞爾藝術展等。

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基蒂·納羅德《第1號》2021年作。現代及當代藝術香港日間拍賣

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「當我看到人類時，我便心生同情；我們有著同樣的喜悅和悲傷。我的作品也是關於平等和空間的。空間意味著機會；我們都應當平等分享，即便這聽起來很烏托邦。」—基蒂·納羅德
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泰國藝術家基蒂·納羅德（Kitti Narod）在他的藝術中捕捉了人類聯繫的精髓，歌頌連結人類種族的共同歡樂和普遍情感。他的作品反映了一種烏托邦的願景，其中空間成為機會的隱喻：這本應平等共享，超越任何社會障礙。

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《第1號》展示了納羅德輕鬆卻富有意義的創作方式，通過色彩繽紛和充滿活力的色盤描繪了社區生活的活潑愉快場景。他的構圖並不刻意說教，而是喚起一種輕鬆的樂觀情懷，邀請觀者重新發現共存的簡單快樂和人與人之間的聯繫。

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雖然根植於泰國的傳統與價值觀，納羅德的藝術作品卻具有普世共鳴，體現了當代東南亞藝術敘事中所定義的包容性和和諧精神。

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更多拍賣詳情 >

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\n","2024-11-22T06:56:54.000000Z","https://www.phillips.com/article/151880746/southeast-asia-art-auction-hong-kong-cn",5011,4779,151880746,"https://flockler.com/thumbs/sites/889/hk-lead-november-2024-e6ba0eac-37d3-4ec0-8861-57fedc88ed2c_s600x0.jpg","A dynamic journey across styles and time emerges in this season’s Hong Kong auctions at Phillips.","The Threads of Southeast Asia’s Artistic Tapestry","

Adrien-Jean Le Mayeur de Merprès, By the Lotus Pond. Modern & Contemporary Art Hong Kong Evening Sale.

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Southeast Asian art is a mosaic of styles and influences, each piece a testament to the region’s diverse cultural legacy. The Modern & Contemporary Art auctions at Phillips Hong Kong bring this richness to life, showcasing the enduring legacies of figurative and modernist pioneers, the layered nuances of abstraction, and the bold expressions of today’s contemporary talents.

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From Le Mayeur’s vivid depictions of Bali, to Lê Phổ’s harmonious fusion of East and West, each work forms part of a broader narrative, weaving together the region’s rich and multifaceted artistic legacy.

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Tradition meets Modernity

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Adrien-Jean Le Mayeur de Merprès, By the Lotus Pond. Modern & Contemporary Art Hong Kong Evening Sale.

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Adrien-Jean Le Mayeur de Merprès — a Belgian painter who found his muse in Bali in the 1930s — made a significant mark on Southeast Asian art through his Impressionist interpretation of Balinese culture. By the Lotus Pond is a quintessential example of his work, capturing the serene beauty of Bali’s landscapes and people. It portrays the lotus pond in the home he shared with his wife and muse, the Balinese dancer Ni Pollok.

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Le Mayeur arrived in Bali in 1932, intending to stay only briefly. However, he was so captivated by the island’s lush beauty and its intricate blend of nature and tradition that he spent the remainder of his life there, as it offered a stark contrast to the industrialized Western world.

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Bali was Le Mayeur’s creative sanctuary, and his personal blend of Western Impressionist techniques with local subjects brought Balinese culture to an international audience. His fascination with tropical light and the rhythm of daily life shines through in the still waters of the pond seen in this work. The painting, alive with vibrant hues of pink, green, and earthy tones, portrays Balinese women engaged in quiet, graceful activities amidst lush tropical foliage. As a luminist, Le Mayeur’s masterful depiction of light and movement — a hallmark of his style — reflects a deep connection to his surroundings and a reverence for his adopted culture.

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Lê Phổ, La Toilette, circa 1938–1939. Modern & Contemporary Art Hong Kong Evening Sale.

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A leading figure in Vietnamese Modernism, Lê Phổ bridged Vietnam’s traditional artistry with the modernist techniques he encountered in Paris. Feminine Morning Rituals exemplifies his unique ability to harmonize Eastern and Western aesthetics.

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Rendered in gouache and ink on silk, the painting captures an intimate moment between two women engaged in a morning routine. One, seated with a vermillion cosmetic box in hand, tilts her head gracefully in a balletic pose. Behind her, another figure clad in a luminous yellow áo dài attends to her hair. The composition exudes quiet elegance, offering a timeless glimpse of tradition poised delicately at the cusp of modernity.

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Lê Phổ, who trained at the École des Beaux-Arts de l’Indochine in Hanoi and later built his career in Paris, became a cultural ambassador for Vietnam. His works reflect a profound connection to his heritage, evident in the áo dài worn by his subjects, while also revealing the influence of European Modernism. The flattened perspective, intricate patterns, and muted tones lend the scene an ethereal quality, embodying the cultural and artistic duality that defines his oeuvre.

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Left: Lee Man Fong, Portrait of a Seated Lady. Right: Lee Man Fong, Portrait of a Seated Woman. Modern & Contemporary Art Hong Kong Day Sale.

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Born in China, raised in Southeast Asia, and trained in the Netherlands, Lee Man Fong exemplifies this fusion of diverse cultural identities. His works — often centered on the serene rural life of Indonesia — are characterized by muted tones and tranquil atmospheres, reflecting the idyllic simplicity of his subjects. At the same time, his compositions carry a distinctly Chinese sensibility, blending his heritage with the influences of his adopted cultures.

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This transcultural synthesis is exquisitely captured in Portrait of a Seated Lady and Portrait of a Seated Woman. Both works depict indigenous Indonesian women seated against rustic backdrops, presented in vertical compositions reminiscent of traditional Chinese painting. The delicate interplay of light and softly saturated tree branches evokes a meditative quality, saluting Lee’s Chinese roots. Yet, the figures’ physical realism, achieved through oil paint and the nuanced contrast of light and shadow, reflects the influence of Dutch Old Masters, seamlessly integrating Western techniques with Eastern aesthetics.

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Lee’s ability to merge these artistic traditions results in deeply evocative works that transcend cultural boundaries. His portraits are not merely visual representations but poetic reflections of a utopian rural life, capturing the essence of Southeast Asia through a multicultural lens.

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Abstract Explorations

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Awang Damit Ahmad, Perjalanan Utara: Kinkir Pun Mula Sepi (A Journey to the North: Even the Beginning of All Things Start with Silence), 2010. Modern & Contemporary Art Hong Kong Day Sale.

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Awang Damit Ahmad is a prominent voice in Malaysian abstract art whose works are deeply intertwined with the socio-cultural fabric of Southeast Asia. Perjalanan Utara, part of his acclaimed Iraga series, explores themes of nature, memory, and identity. Drawing from his upbringing in a coastal fishing village, the painting captures the elemental forces of Malaysia’s coastal life. Bold black strokes and a palette of blues and reds evoke the turbulence of monsoonal storms, which disrupt daily rhythms and shape the lives of those who depend on the sea near the Tropic of Cancer. Layered textures and abstracted forms imbue the work with emotions, reflecting the artist’s ability to transform personal experiences into universal narratives.

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Ahmad’s practice exemplifies the fusion of Abstract Expressionism with local narratives, a defining hallmark of his oeuvre. While abstract in form, his works echo the rhythms of Southeast Asia’s landscapes and cultural traditions, transforming personal memories and national identity into a universal visual language. This unique synthesis places him as a central figure in Malaysia’s post-colonial artistic evolution.

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Marking Awang Damit Ahmad’s debut at Phillips, this painting is a milestone in the global recognition of his art. Highly sought after, his works are part of prestigious collections, including the National Visual Arts Gallery of Malaysia, the Central Bank of Malaysia, and Petronas Gallery in Kuala Lumpur.

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Cheong Soo Pieng, Landscape, 1977. Modern & Contemporary Art Hong Kong Day Sale.

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Cheong Soo Pieng, a pioneering figure in Singaporean Modern art, exemplifies the fusion of diverse cultural and artistic influences. Upon relocating to Singapore in 1946, Cheong melded his training in traditional Chinese ink and Western oil painting with the Southeast Asian milieu, spearheading the iconic Nanyang style. His early works elegantly depicted Malayan and Balinese subjects, balancing the conventions of Eastern and Western art. However, Cheong's creative journey extended far beyond figuration. Following his transformative European travels in the 1960s, he embarked on a bold exploration of abstraction, redefining his artistic practice.

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Created in 1977, Landscape marks a significant phase in Cheong’s abstractionist oeuvre. The composition features clusters of quadrilateral shapes against a monochromatic blue backdrop, evoking the urban rhythms of a rapidly modernizing Singapore. By reinterpreting industrial forms and translating their materiality into painterly elements, Cheong crafts a compelling vision of an evolving urban landscape. The geometric order is softened by varying shades of white and grey, creating a sense of balance and rhythm that invites contemplation.

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Cheong’s multifaceted exploration of media, themes, and styles underscores his enduring legacy as a cultural innovator. His works traverse the boundaries between tradition and modernity, East and West, figuration and abstraction. Today, his contributions are celebrated in major collections and exhibitions.

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Contemporary Voices

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Roby Dwi Antono, Little Girl With Crustacean's Claw, 2023. Modern & Contemporary Art Hong Kong Day Sale.

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Born in 1990 in Indonesia, Roby Dwi Antono is a self-taught artist who has rapidly gained international recognition for his distinctive visual language. Seamlessly blending fantastical imagery with Surrealist and Renaissance influences, his works evoke a sense of wonder that is both nostalgic and profoundly introspective.

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Little Girl With Crustacean’s Claw shows Roby’s signature style, featuring starry-eyed children and mythological creatures in a dreamlike tableau. Rendered in warm, dusky tones, the painting captures a whimsical yet contemplative mood, weaving narratives that are both enigmatic and deeply personal. Drawing from his Indonesian heritage, Antono creates works that resonate with universal themes, bridging cultural specificity and global appeal.

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Antono’s storytelling approach and Surrealist vision have redefined the boundaries of Southeast Asian contemporary art while positioning him firmly within a global artistic context. His works are highly sought after by collectors and have been showcased internationally, including at exhibitions in Tokyo, Los Angeles, Frankfurt, Melbourne, and Art Basel Hong Kong in 2021.

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Kitti Narod, No. 1, 2021. Modern & Contemporary Art Hong Kong Day Sale.

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When I see human beings, I sympathize; we all share the same happiness and sadness. It’s also about equality and space. Space means opportunity; we all need to share it equally, even if it sounds utopian. —Kitti Narod
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Thai artist Kitti Narod captures the essence of human connection in his art, celebrating the shared joys and universal emotions that bind us all. His works reflect a utopian vision in which space becomes a metaphor for opportunity — something to be shared equally, transcending societal barriers.

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No. 1 exemplifies Kitti’s lighthearted yet meaningful approach, depicting vibrant, joyous scenes of communal life through a colourful and dynamic palette. Rather than moralizing, his compositions evoke an effortless optimism, inviting viewers to rediscover the simple pleasures of coexistence and the unifying bonds of humanity.

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Though rooted in Thai traditions and values, Kitti’s art resonates universally, embodying the spirit of inclusivity and harmony that defines the contemporary Southeast Asian art narrative.

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The Precious Collection of Sin-May Roy Zao >

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「我們如何在空間與時間中理解我們自身的具身性？」
\n—— 安東尼·葛姆雷

\n\n

安東尼·葛姆雷藝術的一個首要主題是人類與整個空間之間的關係。當前拍品《小應力IV》出自葛姆雷的「小砌塊」系列，他在該系列中通過建築語法以真人身高的一半呈現人物身體。這是對他持續創作的「砌塊」系列的一個演變，起初他用立方鋼塊、然後用鐵鑄造人物身體。「小砌塊」透過較之更小的尺寸，旨在用盡可能少的方塊呈現人體的態度或「組成」。

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《小應力IV》用鐵（來自地球核心的材料）鑄造，使用邊緣堅硬銳利的黑色立方體構建人體形態。這件作品體現了葛姆雷使用抬梁式系統塑造身體形式的方法，他用交替的垂直結構和水平結構重構人體有機輪廓。葛姆雷創作的這一面向植根於現代建築史及其對人體規模的重新定義，讓人想起勒·柯布西耶在其開創性的《模度》中重塑人體與建築環境的關係，從而開拓了將人類存在理解為一種空間現象的思想。

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正如藝術家所指出，「在應用建築規則及其絕對幾何形狀時，基於特定人類生活的客觀標準，我試圖讓即興的構造喚起一種內在狀態。」ⁱ 《小應力IV》尤其典型，它的整體結構（包括水平懸臂）僅由底部的一個垂直塊方支撐，固體方塊的堆疊營造出一種張力。

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「葛姆雷的作品通過提出『雕塑想要什麼』的問題來應對空間問題——這意味著既關注它的慾望或渴求，也關注它的匱乏⋯⋯雕塑想要的是一片站立之處，一個場所，一個字面意義以及象徵意義上的地點，而葛姆雷的作品深刻地表達了這種對空間的渴望。」
\n—— W.J.T. 米歇爾，《雕塑想要什麼：置放安東尼·葛姆雷》

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值得留意的是，葛姆雷的「砌塊」系列曾多次展出，包括於 2015 年在佛羅倫薩美景堡舉辦的展覽〈Human〉。用藝術家自己的話來說，該展覽用一種「雕塑針灸」的形式，打開了曾用作防禦建築及擔當權力和封建主權象徵的場所。正如葛姆雷所闡述，「雕塑與繪畫不同，不需要牆壁和屋頂的庇護來完成其工作，在所有視覺藝術中，雕塑能在集體空間中引發集體反應。因此，雕塑在本質上、尤其在自然界中，是對集體空間的入侵。」ⁱⁱ葛姆雷將個人作品置於集體環境，以此促使我們重新思考我們與空間的關係、以及此類建築語境建構我們日常生活的方式。

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\"\" — 佛羅倫薩美景城堡〈Human〉展覽現場，2015年4月26日-9月27日

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ⁱ 安東尼·葛姆雷，《Blockworks，2003-07年》，《安東尼·葛姆雷》，載自網絡
\nⁱⁱ 葛姆雷，引述於Arabella Natalini，《與Arabella Natalini對談》，〈Human〉，佛羅倫薩，2015年，載自網絡
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趙無極的創作典範

趙無極《27.6.70》1970年作。現代及當代藝術香港日間拍賣

趙無極《無題》2008年作。現代及當代藝術香港日間拍賣

皮耶．蘇拉吉

皮耶·蘇拉吉《膠印版畫 第33號》1974年作。現代及當代藝術香港日間拍賣

愛德華多．奇利達

愛德華多·奇利達《古式》1973年作。現代及當代藝術香港日間拍賣

趙無極對後世的影響

趙無極《無題》1990年作。現代及當代藝術香港日間拍賣

趙無極《無題》1976年作。現代及當代藝術香港日間拍賣​​​​​​​

趙無極《無題》1968年作。現代及當代藝術香港日間拍賣​​​​​​​

A Masterpiece by Zao Wou-Ki

Zao Wou-Ki, 27.6.70, 1970. Modern & Contemporary Art Hong Kong Day Sale.

Zao Wou-Ki, Untitled, 2008. Modern & Contemporary Art Hong Kong Day Sale.

Pierre Soulages

Pierre Soulages, Lithographie No. 33, 1974. Modern & Contemporary Art Hong Kong Day Sale.

Eduardo Chillida

Eduardo Chillida, Artzapar, 1973. Modern & Contemporary Art Hong Kong Day Sale.

Zao Wou-Ki’s Legacy

Zao Wou-Ki, Untitled, 1990. Modern & Contemporary Art Hong Kong Day Sale.

Zao Wou-Ki, Untitled, 1976. Modern & Contemporary Art Hong Kong Day Sale.

Zao Wou-Ki, Untitled, 1968. Modern & Contemporary Art Hong Kong Day Sale.

傳統與現代的交匯

勒邁耶《荷花池旁》。現代及當代藝術香港晚間拍賣

黎譜《梳妝》約1938-1939年作。現代及當代藝術香港晚間拍賣

左：李曼峯《仕女坐像》。右：李曼峯《女子坐像》。現代及當代藝術香港日間拍賣

探索抽象藝術

阿旺·達密·阿麥德《向北：萬物始於寂靜》2010年作。現代及當代藝術香港日間拍賣

鐘泗賓《抽象景》1977年作。現代及當代藝術香港日間拍賣

當代聲音

羅比·迪·安東諾《長著甲殼動物利爪的小女孩》2023年作。現代及當代藝術香港日間拍賣

基蒂·納羅德《第1號》2021年作。現代及當代藝術香港日間拍賣

Tradition meets Modernity

Adrien-Jean Le Mayeur de Merprès, By the Lotus Pond. Modern & Contemporary Art Hong Kong Evening Sale.

Lê Phổ, La Toilette, circa 1938–1939. Modern & Contemporary Art Hong Kong Evening Sale.

Left: Lee Man Fong, Portrait of a Seated Lady. Right: Lee Man Fong, Portrait of a Seated Woman. Modern & Contemporary Art Hong Kong Day Sale.

Abstract Explorations

Awang Damit Ahmad, Perjalanan Utara: Kinkir Pun Mula Sepi (A Journey to the North: Even the Beginning of All Things Start with Silence), 2010. Modern & Contemporary Art Hong Kong Day Sale.

Cheong Soo Pieng, Landscape, 1977. Modern & Contemporary Art Hong Kong Day Sale.

Contemporary Voices

Roby Dwi Antono, Little Girl With Crustacean's Claw, 2023. Modern & Contemporary Art Hong Kong Day Sale.

Kitti Narod, No. 1, 2021. Modern & Contemporary Art Hong Kong Day Sale.

皮耶·蘇拉吉《膠印版畫第33號》1974年作。現代及當代藝術香港日間拍賣

趙無極《無題》1976年作。現代及當代藝術香港日間拍賣

趙無極《無題》1968年作。現代及當代藝術香港日間拍賣

165

Antony Gormley

《小應力 IV》

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Antony Gormley