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JW Marriott Hotel Hong Kong, 88 Queensway, Admiralty, Hong Kong (map)
\n
\nHong Kong Viewing
\nHighlights Preview 23-24 November 10am-7pm
\nViewing 25-30 November 10am-7pm
\n

\n\n

International Tour
\n

\n\n

Taipei
\n16-17 October, 11am-6pm
\nBellavita Gallery
\nB1, No. 28, Song Ren Road, Xinyi District, Taipei
\n

\n\n

Taichung
\n21 October, 11am-6pm
\nFong Yi Gallery
\nB1, No. 110, Sec. 1, Wu Quan W. Road, West District, Taichung
\n
\nShenzhen
\n26-27 October, 11am–7pm
\nRaffles Shenzhen 2/F
\nT7, One Shenzhen Bay, 3008 Zhongxin Road
\nNanshan District, Shenzhen, Guangdong
\nHai Yu Room, Xiang Mi Room, Wu Tong Room
\nOpen to Public
\n

\n\n

Beijing
\n4-5 November, 11am-7pm
\nRosewood Beijing 4/F
\nJing Guang Center, Hujialou, Chaoyang District Beijing
\nPavilion Ballroom
\nOpen to Public
\n

\n\n

Shanghai
\nVIP preview
\n11 November, 2pm-8pm
\n12 November, 1pm-8pm
\n
\nOpen to Public
\n13 November, 11am-6pm
\n14 November, 11am-6pm
\n
\nART 021 Shanghai Contemporary Art Fair
\nBooth S44, 1/F
\nShanghai Exhibition Center
\nNo.1000, Yanan Road Mid, Jingan District Yanan, Shanghai, China
\nOpen to Public
\n

\n\n

Singapore

\n\n

12–13 November, 11am–7pm

\n\n

The St Regis Singapore
\n29 Tanglin Road,
\nSingapore 247911
\nRSVP
\nchristinefernando@phillips.com
\n+65 9128 6277

\n","auctionDetailsSmall","Hong Kong Auction 30 November 2021","extraInfo","

Charlotte Raybaud
\nHead of Evening Sale, 20th Century & Contemporary Art
\n+852 2318 2026
\nCharlotteRaybaud@phillips.com

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克勞德·莫內, 《瓷瓶中的罌粟花》, 1883年作
\n估價 9,500,000 - 15,000,000港元
\n拍品31, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術晚間拍賣, 11月30日

\n\n

同樣出生於1840年，克勞德·莫內和奧古斯特·羅丹的生辰僅隔兩天，他們不僅生於同一時代，而且成為了這個重要時期各自創作領域最重要的藝術家。

\n\n

除了在數場群展中一同展出，包括他們在1889年世界博覽會期間著名的聯合回顧展，他們也相互極為欣賞甚至收藏彼此的作品。富藝斯有幸呈獻兩位現代藝術大師的兩件作品，借此機會讓兩位藝術家的作品再度並肩展出，此番盛事在亞洲亦是首次。

\n\n

除了這兩位現代主義巨頭，這季的 20 世紀藝術精選還包括亞歷山大·考爾德和藤田嗣治的作品。

\n\n

Claude Monet 克勞德·莫內

\n\n

繪畫於1883年，即克勞德·莫內搬至位於吉維尼他摯愛的住宅和花園那一年，《瓷瓶中的罌粟花》這件動人之作以優雅的姿態表達了這位印象派大師的繪畫技巧，以及自然和日常生活等貫穿他整個藝術生涯且令他迷戀的重要主題。

\n\n

以明豔、生動的色彩和藝術家典型的迅疾而又精確的筆觸繪畫而成，畫作標題中的罌粟花呈現出一種動人的鮮麗和生命，彷彿直接採摘自藝術家田園牧歌般的花園之中。

\n\n

莫內將這件作品留在自己身邊多年，直到1907年將其借給著名的恩海姆-熱納畫廊，並在巴黎的一場重要的靜物畫群展中展出，這證明了本件作品對藝術家本人，以及更廣意義上的印象派美學之重要意義。

\n\n

\n\n

奧古斯特·羅丹, 《吻 (縮小版第一版)》, 1883年作
\n估價 $10,000,000 - 15,000,000 港元
\n拍品 27, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術晚間拍賣, 11月30日

\n\n

Auguste Rodin 奧古斯特·羅丹

\n\n

奧古斯特·羅丹的《吻》兼具溫柔與激情，迄今為止仍是西方藝術史上描繪情慾的藝術品中最經典與雋永的作品之一。事實上，藝術評論家艾拉斯德·蘇克所描述的這一「性激情的普遍表現」中的親密程度與顯而易見的辨識度使這座雕像在 1914年亮相時震驚了英國公眾，以至於它被防水油布覆蓋起來，並藏在了馬廄中。

\n\n

《吻》與其摹仿的早期作品《永恆的春天》都生動地描繪了作為禁忌的激情。這兩座雕塑講述了保羅和弗朗西斯卡這對不幸戀人的故事：保羅的哥哥、弗朗西斯卡的丈夫發現他們偷情後怒火中燒，將二人一併殺害；死後，他們一同落入但丁《煉獄》中的第二圈地獄。

\n\n

此次拍品由勒布朗克·巴貝丁鑄造廠於1914年鑄造，其原型來自於 1898 年僅有的兩個版本之一。其它幾件同樣出自巴貝丁的鑄造品現被各大公共收藏機構收藏，其中包括莫斯科的普希金博物館、華盛頓特區的國會圖書館、馬蒂尼的賈安達達基金會、洛桑的州立美術館和布達佩斯的美術博物館等。

\n\n

\n\n

亞歷山大·考爾德, 《空中的兩片紅色花瓣》, 1958年作
\n估價 16,000,000 - 20,000,000港元
\n拍品 30, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術晚間拍賣, 11月30日

\n\n

Alexander Calder 亞歷山大·考爾德

\n\n

1930 年，考爾德在探訪皮特·蒙德里安位於巴黎的工作室時第一次受到啟發，思考動態藝術的可能性。早在 1931 年，他就開始創作可以在空間中自由移動的抽象雕塑，並於1932 年在巴黎的維尼翁畫廊展示這些被考爾德稱為「動態雕塑」的作品——這個術語是馬塞爾．杜尚一年前在遇到考爾德的作品時所創。

\n\n

從那時起，考爾德致力於完全改變雕塑與觀眾及周圍環境的關係當中，不斷地擴展動態雕塑的可能性。《空中的兩片紅花瓣》含括了考爾德審美中最重要的要素，展現了複雜的線條起伏和崇高的平衡感，以及藝術家熟練的技術和概念創造能力。

\n\n

\n\n

藤田嗣治, 《斜倚裸女》, 1931年作
\n估價 12,000,000 - 18,000,000港元
\n拍品 23, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術晚間拍賣, 11月30日

\n\n

Léonard-Tsuguharu Foujita 藤田嗣治

\n\n

出生於東京的藤田嗣治風格怪誕，是二十世紀早期巴黎畫派中的一員健將。他通過跨文化的創作銜接傳統與現代，用植根於日本美術傳統的精湛技法。

\n\n

1910年從東京藝術大學畢業後，不過三年他便滿懷抱負來到巴黎。藤田在給父親的家書中寫道：「在我成名之前，請認為我已經死了吧。」不久後，藤田怪誕而前衛的外表便吸引了智利畫家曼努埃爾·奧爾蒂斯·薩拉特的注意。薩拉特向他作了自我介紹、迅速與之成為朋友，並邀請藤田一道造訪畢加索在沙赫爾街的工作室。

\n\n

藤田嗣治充滿感官美的《斜倚裸女》描繪了在凌亂床單之間為畫家擺姿勢的紅髮美女；畫中精緻的色彩傳遞出魅力和浪漫，朦朧的透明感賦予畫面亞洲水墨畫的氣息。

\n\n

《斜倚裸女》是這位法籍日裔畫家創作的裸女畫中的一幅非凡之作，而畫中斜倚女子則是他最著名的情人之一：瑪德琳·勒克，藤田於 1930 年在巴黎與她相戀。

\n\n

\n\n

藤田嗣治, 《與貓的自畫像》, 1931年作
\n估價 4,000,000 - 6,000,000 港元
\n拍品 22, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術晚間拍賣, 11月30日

\n\n

《與貓的自畫像》是嗣治備受讚譽的自畫像之一。此次拍品畫於 1931年，正是藤田的創作巔峰時期；他發展出了大受追捧的個人風格，將日本畫技與首次駐紮巴黎後掌握的優雅明亮調色完美融合。作品體現出他獨特的視野——即使在將近一個世紀後也仍魅力不減。

\n\n

相關專題

\n\n

《ULTRA/NEO》隆重登場，聚焦超新星當代藝術家

\n\n

當代熱潮：現今藝術界最炙手可熱的名字

\n\n

從美術館到拍賣場

\n\n

女性凝視 - 她們眼中的虛實世界

\n","publishDate","2021-11-18T08:34:03.000000Z","authorCredit","Veronica Chow","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/86975711/modern-masters-hong-kong-fall-auction-cn","displayOrder",10,"auctionEditorialID",1422,"editorialID",3718,"flocklerID",86975711,"https://flockler.com/thumbs/sites/889/162344-e63f8e50-ea51-4fcb-9ce5-ca3210d74213_s600x0.jpg","From Rodin to Monet, the titans who influenced the art scene of the early 20th century with their bold responses to a changing world.","Modern Masters","

Claude Monet, Pavots dans un vase de Chine, 1883
\nEstimate: HK$9,500,000 - 15,000,000 (US$1,220,000 - 1,920,000)
\nLot 31, 20th Century & Contemporary Art Evening Sale, November 30

\n\n

中文閱讀

\n\n

Born only two days apart in 1840, Claude Monet and Auguste Rodin were more than close contemporaries — they were two of the most significant artists working in their respective disciplines during an important period of art history.

\n\n

As well as showing together at several group exhibitions, including their notable joint retrospective during the 1889 Exposition Universelle, they also greatly admired and even collected one another’s work. Phillips is honored to present two works by these great modern masters, reuniting the artists for the first time in Asia.

\n\n

Besides these two modernist titans, our selection of early to mid-20th-century art includes works by Alexander Calder and Léonard-Tsuguharu Foujita.

\n\n

Claude Monet

\n\n

Painted in 1883, the year Monet moved to his beloved house in Giverny, Pavots dans un vase de Chine is a strikingly elegant expression of the painterly techniques and dominant themes of nature that preoccupied the Impressionist master throughout his long career.

\n\n

Vividly evoked in a brilliant palette and characteristically rapid yet precise brushstrokes, the titular poppies are rendered with a striking freshness and vitality, as if plucked directly by the artist from his idyllic garden sanctuary.

\n\n

Testifying to the work’s importance to the artist himself — as well as to broader discussions of Impressionist aesthetics — Monet kept the work in his own private collection for many years, eventually lending it to the prestigious Galerie Bernheim Jeune in Paris in 1907 for an important group exhibition on still-life.

\n\n

\n\n

Auguste Rodin, Le Baiser, 1ère réduction dite aussi "réduction n°1"
\nEstimate: HK$10,000,000 - 15,000,000 (US$1,280,000 - 1,920,000)
\nLot 27, 20th Century & Contemporary Art Evening Sale, November 30

\n\n

Auguste Rodin

\n\n

At once tender and erotic, Rodin’s Le Baiser remains one of the most iconic and timeless depictions of sensual desire in the history of Western art. What art critic Alastair Sooke has described as a “universal representation of sexual infatuation” was in fact so intimately observed and immediately recognized that it scandalized the British public on its unveiling there in 1914 to such a degree that it was apparently covered with a tarpaulin and hidden in a stable block.

\n\n

A vivid depiction of forbidden passion, Le Baiser and the earlier L’Eternel Printemps, on which it is closely modelled, tells the story of doomed lovers Paolo and Francesca, who are cast into the second circle of hell in Dante Alighieri’s Inferno after their adulterous liaison was discovered by Paolo’s older brother, Francesca’s husband.

\n\n

Undertaken by the Leblanc-Barbedienne foundry, the present work is a lifetime 1914 cast of one of only two 1898 reductions. Several of these Barbedienne casts are now in public collections, including the Pushkin Museum in Moscow, the Library of Congress in Washington, D.C. and the Museum of Fine Arts in Budapest.

\n\n

\n\n

Alexander Calder, Two Red Petals in the Air, 1958
\nEstimate: HK$16,000,000 - 20,000,000 (US$2,050,000 - 2,560,000)
\nLot 30, 20th Century & Contemporary Art Evening Sale, November 30

\n\n

Alexander Calder

\n\n

It was in 1930, during his now legendary visit to the studio of Piet Mondrian in Paris, that Calder was first inspired to think about the kinetic possibilities of art. He began to produce abstract sculptures that freely moved through space as early as 1931, calling them “mobiles,” a term used by Marcel Duchamp a year earlier upon his encounter of Calder’s works.

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From then on, Calder dedicated his career to revolutionizing the ability of sculpture to connect with not just viewer but its environment, expanding the possibilities of motion in sculpture. Two Red Petals in the Air showcases Calder at his most technically adept and conceptually inventive, demonstrating the most important essentials of the artist’s aesthetic: complex cadence and sublime balance.

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Léonard-Tsuguharu Foujita, Reclining Nude, 1931
\nEstimate: HK$12,000,000 - 18,000,000 (US$1,540,000 - 2,310,000)
\nLot 23, 20th Century & Contemporary Art Evening Sale, November 30

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Léonard-Tsuguharu Foujita

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An eccentric icon of the early 20th-century School of Paris, the Tokyo-born Foujita bridged tradition and modernity in his cross-cultural practice, with masterful techniques rooted in Japanese art tradition.

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Following his graduation from the Tokyo National University of Fine Arts in 1910, he moved to Paris with big aspirations, writing to his father: “Consider me dead until I become famous.” It was not long after that Foujita claimed his quirky, fashion-forward appearance, which caught the attention of Chilean painter Manuel Ortiz de Zárate, who introduced himself and quickly became a friend, inviting Foujita to accompany him to visit Pablo Picasso’s studio on rue Schoelcher.

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Depicting a red-haired beauty posing on tussled bed sheets, Foujita’s sensuous Reclining Nude delivers charm and romance through delicate use of oil colors, exuding a translucence that gives the air of Asian ink painting.

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An exceptional example of the artist’s female nude paintings, the work portrays the reclining body of one of his most famous lovers, Madeleine Lequeux, with whom Foujita fell in love in Paris in 1930.

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Léonard-Tsuguharu Foujita, Self-Portrait with a Cat, 1931
\nEstimate: HK$4,000,000 - 6,000,000 (US$513,000 - 769,000)
\nLot 22, 20th Century & Contemporary Art Evening Sale, November 30

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Self-Portrait with a Cat, meanwhile, is one of the finest examples of Foujita’s acclaimed self-portraits. Executed in 1931 during a highly sought-after period in the artist’s oeuvre — when he truly mastered fusing Japanese techniques with the elegance and luminous palette acquired during his first period in Paris — the present work embodies his unique vision that continues to charm almost a century on.

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\n","2021-11-18T07:10:00.000000Z","Gavin Huang","https://www.phillips.com/article/86120449/modern-masters-hong-kong-fall-auction",9,1421,3690,86120449,"https://flockler.com/thumbs/sites/889/162874_uc375554-19497d25-11b8-4800-b58e-ea58e490a0f8_s600x0.jpg","當代大師的精品最近在一些世界最負盛名的美術館展出。","從美術館到拍賣場","

喬治·康多, 《纏繞的人體》, 2009年作
\n估價6,200,000 - 9,200,000港元
\n拍品44,富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術晚間拍賣, 11月30日

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喬治·康多(George Condo)《被綁架的管家》,2011年作
\n估價1,800,000 - 2,800,000 港元
\n拍品168, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術和設計日間拍賣, 11月29日

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George Condo 喬治·康多

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關於喬治·康多的藝術論述，一種常見的結論是——他完全是一個特立獨行的藝術家。他以對待原始材料一視同仁而聞名（對他而言，立體主義和卡通可以輕而易舉地共存），康多的作品及其對當代社會的重新想像使它們獲得了全世界一些最傑出的公共機構的收藏。近期，藝術家在2019年的威尼斯雙年展上大放異彩，並且在2021年於上海龍美術館舉辦了一場個人展覽。

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《纏繞的人體》是一幅典型的康多作品。它貌似對美惠三女神進行了挪用：她們代表美麗、自然、創造力、豐饒和善意等美好的品質。然而，對於喬治·康多而言，不論畫什麼都要帶有一絲怪誕。一方面，這幅畫喚起了波提切利式的維納斯自海中升起的畫面。但另一方面，本件作品又有著一絲法蘭西斯·培根式的陰鬱：扭曲、揮之不去。這明顯是來自培根的影響。

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奈良美智, 《潘多拉盒子》, 1990年作
\n估價 7,500,000 - 10,000,000港元
\n拍品42, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術晚間拍賣, 11月30日

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Yoshitomo Nara 奈良美智

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奈良美智是當今最具國際影響力的藝術家之一，他的作品強調私人感情的流露，近乎赤誠的傳達出一種敏感、脆弱的私人情緒。其作品不斷受到人們的追捧，如今被全球 60 多家公共機構收藏。今年他舉辦其國際巡迴之回顧展在洛杉磯郡藝術博物館、上海的余德耀美術館、畢爾包古根漢美術館和鹿特丹當代藝術博物館。他在台灣的關渡美術館個展獲得了廣泛好評；同時，德克薩斯州的達拉斯當代藝術博物館也舉辦奈良的大型美術館展覽。

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《潘多拉盒子》極具藝術家早期創作特色。在德國獨自留學的奈良美智因不擅長德語而無法與周圍人順暢表達和講述自己，這使得本就內斂、不擅言辭的他更加孤獨，因此他將種種情緒宣洩的出口寄託在繪畫上，並自言畫中的小孩或是小動物就是他的自畫像。畫面中的小女孩置於一片飽滿的、高彩度的、空曠的水天之間，在這樣一個無限景深的空間裡彷彿蘊含著無數中可能，同時也將畫面的焦點保留給了主角。

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喬治·巴塞利茲, 《W.D.》, 2017年作
\n估價3,000,000 - 5,000,000港元
\n拍品190, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術和設計日間拍賣, 11月29日

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Georg Baselitz 喬治·巴塞利茲

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德國藝術家喬治·巴塞利茲在其六十多年的藝術實驗中不斷突破著繪畫和雕塑的極限。巴塞利茲以畫中倒置的人物形象而聞名。他致力除去畫像與內容之間的界限，在整個職業生涯中不斷地發展出自己的新風格。

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巴塞利茲將成為期待已久的，巴黎蓬皮杜中心2021 年秋季回顧展的主題。2018 年是巴塞利茲80 週年誕辰，多處機構曾舉辦了紀念他的回顧展，其中包括於慕尼黑現代藝術陳列館、貝耶勒基金會和巴塞爾美術館，以及華盛頓特區赫尚博物館和雕塑園。

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莎拉·休斯, 《魔幻島》, 2012年作
\n估價1,500,000 - 2,500,000港元
\n拍品12,富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術晚間拍賣, 11月30日

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Shara Hughes 莎拉·休斯

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莎拉·休斯通過在大西洋兩岸舉辦的一系列小型展覽逐漸建立起她的聲譽。 2017 年，她的作品入選惠特尼雙年展，引起了國際上對她的重大關注。她的作品被達拉斯美術博物館、巴黎路易威登基金會；紐約大都會藝術博物館；丹佛藝術博物館；和紐約惠特尼美國藝術博物館等永久收藏。

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從馬蒂斯到畢加索，再從克拉斯·歐登伯格到戴娜·舒茨——休斯從各個藝術家身上汲取靈感，在作品中創造出具有她獨特審美特色的扭曲透視感；而這種扭曲的視覺效果與超現實主義中，風景和內景中隨機排列的物體一樣如出一轍。

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赫南·巴斯, 《極簡主義 (解密)》, 2019年作
\n估價1,000,000 - 1,500,000港元
\n拍品10, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術晚間拍賣, 11月30日

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Hernan Bas 赫南·巴斯

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赫南·巴斯近年來舉辦了許多成功的個展，體現了他在當代藝術世界的重要地位。這些展覽包括：邁阿密魯貝爾美術館的展覽、巴黎貝浩登畫廊的「萬物慰藉」、威尼斯維多利亞米羅畫廊的「威尼斯百葉窗」，以及紐約立木畫廊的「時間生命」。

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《極簡主義（破解密碼）》是出生於邁阿密的藝術家以敘事驅動的肖像作品中一件迷人的典範之作。熱衷於文學和歷史典故，巴斯的作品取材包羅萬象，從浪漫主義詩歌、奧斯卡·王爾德和若利斯·卡爾·於斯曼的文字、民間傳說和梵谷的繪畫到哥特文化、鳥類學、酷兒男性主題，以及「來自互聯網的古怪趣味」。

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比莉·贊格瓦, 《冬季馬戲團》, 2007年作
\n估價400,000 - 600,000港元
\n拍品53, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術晚間拍賣, 11月30日

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Billie Zangewa 比莉·贊格瓦

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出生於馬拉維、常駐約翰內斯堡的藝術家比莉·贊格瓦的絲綢掛毯作品可以說是名副其實地掛在牽動觀者心靈的繩子上的，它們所描繪的是日常生活中的場景、身為人母的感受，以及愛情中的親密片段。僅在今年秋季，藝術家就將舉辦數場展覽，其中包括在舊金山的非裔移民博物館舉辦的個展《網之絲線伊始》。

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贊格瓦的創作幾乎完全是將豐富多彩的拼貼手工縫製於一片片生蠶絲上製作而成。藝術家的職業生涯始於時尚和廣告行業，她以個人記憶為主要靈感來源，通過刻畫精細的絲綢掛毯試圖打破黑人女性形體的刻板印象。隨著她所受關注與日俱增，包括獲得巴黎蓬皮杜藝術中心的收藏以及近期在巴黎現代藝術博物館舉辦展覽，贊格瓦加入了越來越多有色人種藝術家和年輕女性藝術家的行列，掀起了席捲了藝術世界的熱潮。

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相關專題

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《ULTRA/NEO》隆重登場，聚焦超新星當代藝術家

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當代熱潮：現今藝術界最炙手可熱的名字

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現代大師之作

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女性凝視 - 她們眼中的虛實世界

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\n","2021-11-18T07:13:16.000000Z","https://www.phillips.com/article/86974372/museum-to-auction-hong-kong-fall-cn",8,1420,3717,86974372,"https://flockler.com/thumbs/sites/889/162874_uc375554-1f6b4045-9faf-49d6-b21a-f18ac4512db9_s600x0.jpg","A selection of works from contemporary masters who are currently exhibited in some of the world’s most prestigious institutions.","From Museum to Auction","

George Condo, Entangled Figures, 2009
\nEstimate: HK$6,200,000 - 9,200,000 (US$795,000 - 1,180,000)
\nLot 44, 20th Century & Contemporary Art Evening Sale, November 30

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中文閱讀

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George Condo ,The Abducted Butler ,2011
\nEstimate HK$1,800,000 - 2,800,000 (US$231,000-359,000)
\nLot 168,20th Century & Contemporary Art & Design Day Sale, November 29

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George Condo

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One common observation that unites the discourse around George Condo is that he is an all-around maverick. Known for the non-hierarchical manner with which he treats his source material — for him, Cubism and cartoons coexist effortlessly — Condo has earned his place in the pantheon of the world’s finest institutions with his reimaginations of contemporary life. Most recently, the artist had significant prominence at the 2019 Venice Biennale and a solo exhibition at the Long Museum in Shanghai this year.

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Entangled Figures is typical of the artist. It ostensibly appropriates the Three Graces, the goddesses representing charm, nature, creativity, fertility and goodwill, among other positive attributes. With Condo, though, nothing is without a hint of the grotesque. On one hand, the image summons Botticellian memories of Venus emerging from the sea. On the other, the work’s sinister twist bears resemblance to the nudes of Francis Bacon, distorted, often haunting. Here, Bacon’s influence on Condo is palpable.

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Yoshitomo Nara, Pandora’s Box, 1990
\nEstimate: HK$7,500,000 - 10,000,000 (US$962,000 - 1,280,000)
\nLot 42, 20th Century & Contemporary Art Evening Sale, November 30

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Yoshitomo Nara

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One of the most influential artists in the world today, Yoshitomo Nara is known for his works expressing inner emotion, sensitivity and fragility in a distinctly sincere way. His pieces remain highly sought after, forming part of over 60 public collections worldwide. This year, he was the subject of an international retrospective at the Los Angeles County Museum of Art, Shanghai’s Yuz Museum, the Museo Guggenheim Bilbao and the Kunsthal Rotterdam. He was also honored with a well-received solo exhibition in Taiwan at the Kuandu Museum of Arts and a monumental museum show at the Dallas Contemporary in Texas.

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Pandora’s Box is an iconic early work by Nara. Studying alone in Germany, the artist faced difficulty communicating with others as he was not fluent in the language. As a result, he turned to painting as an outlet for his emotions, considering the children and small animals in his compositions as self-portraits. Behind the girl is a highly saturated background of open water and open skies — a space with infinite depth, suggesting infinite possibilities. Yet the focus is still on the main character, the little girl holding a little box.

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Georg Baselitz, W.D., 2017
\nEstimate: HK$3,000,000 - 5,000,000 (US$385,000 - 641,000)
\nLot 190, 20th Century & Contemporary Art & Design Day Sale, November 29

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Georg Baselitz

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German artist Georg Baselitz has pushed the limits of painting and sculpture throughout more than six decades of artistic experimentation. Made famous by his upside-down images that attempted to supersede the boundaries of representation and content, Baselitz has continually evolved his style throughout his career.

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Baselitz will be the subject of a long-awaited retrospective this fall at the Centre Pompidou in Paris. His 80th birthday in 2018 was celebrated with several retrospectives held in his honor, including at the Pinakothek der Moderne in Munich, Fondation Beyeler and Kunstmuseum in Basel and the Hirshhorn in Washington, D.C.

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Shara Hughes, Magic Island, 2012
\nEstimate: HK$1,500,000 - 2,500,000 (US$192,000 - 321,000)
\nLot 12, 20th Century & Contemporary Art Evening Sale, November 30

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Shara Hughes

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Well-established through a series of smaller exhibitions with galleries on both sides of the Atlantic, Shara Hughes garnered major international attention with her inclusion in the 2017 Whitney Biennial. Her works are in the permanent collections of the Dallas Museum of Fine Art, the Foundation Louis Vuitton in Paris, the Metropolitan Museum of Art in New York, the Denver Museum of Art and the Whitney.

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Hughes’ large-scale interiors of imaginary rooms are inspired by artists ranging from Matisse and Picasso to Claes Oldenburg and Dana Schutz. Her aesthetically warped sense of perspective aligns with the random assortment of objects populating surreal landscapes and interiors.

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Hernan Bas, Minimalism (cracking the code), 2019
\nEstimate: HK$1,000,000 - 1,500,000 (US$128,000 - 192,000)
\nLot 10, 20th Century & Contemporary Art Evening Sale, November 30

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Hernan Bas

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Demonstrative of his position as a key figure in the contemporary art world, Hernan Bas has mounted numerous successful solo exhibitions in recent years, including at the Rubell Museum in Miami, Creature Comforts at Perrotin in Paris, Venetian Blind at Victoria Miro in Venice and TIME LIFE at Lehmann Maupin in New York.

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Minimalism (cracking the code) is an arresting example of the Miami-born artist’s narrative-driven portraiture. An eager consumer of literary and historic references, Bas draws from a rich tapestry of sources ranging from Romantic poetry and folklore to Oscar Wilde, Joris-Karl Huysmans, goth culture, ornithology, queer male themes and “deep dives into weirdness on the internet.”

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Billie Zangewa, Cirque d'hiver, 2007
\nEstimate: HK$400,000 - 600,000 (US$51,300 - 76,900)
\nLot 53, 20th Century & Contemporary Art Evening Sale, November 30

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Billie Zangewa

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Zangewa’s practice almost exclusively involves the creation of elaborate collages hand-sewn onto fragments of raw silk. Having begun her career in fashion and advertising, the artist seeks to disrupt the stereotype of the Black female form through her detailed silk tapestries, drawing predominantly from personal memories. With mounting critical attention for her pieces, including being collected by the Centre Pompidou in Paris and having recently been exhibited at the Musée d’art Moderne, Zangewa joins a growing group of artists of colour and young female artists alike who are taking the art world by storm.

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Recommended Reading

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Introducing ULTRA/NEO, Our Spotlight on Ultra-Contemporary Talent >

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In Demand: Artists to Watch in the Hong Kong Sales >

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\n","2021-11-17T07:11:00.000000Z","https://www.phillips.com/article/86120477/museum-to-auction-hong-kong-fall",7,1419,3691,86120477,"https://flockler.com/thumbs/sites/889/160207-838a672a-6801-4936-b5ed-2b9d2b50ff12_s600x0.jpg","當今藝術市場上最炙手可熱的名字，今季拍賣繼續呈獻一眾年輕新晉藝術家的作品。","當代熱潮：現今藝術界最炙手可熱的名字","

尼古拉斯·帕爾蒂 (Nicolas Party), 《靜物》, 2017年作
\n估價6,200,000 - 9,400,000港元
\n拍品 20, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術晚間拍賣, 11月30日

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尼古拉斯·帕爾蒂

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尼古拉斯·帕爾蒂1980年出生於洛桑，一座位於日內瓦湖畔，俯瞰壯麗的阿爾卑斯山的瑞士城市。他在這樣質樸宜人的環境下成長，令帕爾蒂的作品清晰地體現他自身對自然界強烈的迷戀並陶醉其中。

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我們可以看出，《靜物》中的寶石形狀是梨和葫蘆，它們層疊、傾斜的排列如連綿起伏的山巒，在前景中與背後高聳的山峰交相呼應。帕爾蒂擅長在創作中融入怪異元素並將效果加以擴大，透過基本的擬人化手法，如早期迪士尼的跳舞花朵，通過「將（他）的主題視為獨立的人物角色......在創作中為它們注入各自的性格」來增添神秘感。

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哈維爾·卡列哈 (Javier Calleja), 30件作品：《無題》, 2017年作
\n估價: 3,000,000 - 5,000,000港元
\n拍品 7, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術晚間拍賣, 11月30日

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哈維爾‧卡列哈

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眾所周知哈維爾·卡列哈畫筆下的人物是藝術家自己的化身，他們除擁有一副極具辨識度的可愛形象外，作品還兼具了技巧上的成熟細膩和直截了當的畫面，深受世界人們的喜愛。卡列哈通過對表現力、色調和質感把控得宣，平衡各種元素並能把作品演繹得渾然天成。其中最為顯著的是人物中的水汪汪、大理石般的眼睛和圍繞著他們的更為圖像化、簡潔元素之間的對比。

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畫面喚起孩童停止哭泣、再次喜笑顏開時那微妙的一瞬，對此，卡列哈闡釋道：「我要畫的就是這樣一個瞬間——當你衝破所遭遇的不幸時那一瞬間。我想，當一個哭泣的孩子停止哭泣時——他們就是英雄，因為他或她下定決定要戰勝痛苦。」

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劉野 (Liu Ye), 《無題》, 1993年作
\n估價3,000,000 - 5,000,000港元
\n拍品 39, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術晚間拍賣, 11月30日

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劉野

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中國當代畫家劉野以其富有美學、歷史和文學意義的獨特作品而著稱。深受兒時童話故事書及其歐洲求學經歷的影響，他作品中充滿了夢境般的意象。

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對奇幻和神秘色彩的情有獨鍾使劉野在中國藝術界獨具一格，他大膽且發人深省的繪畫向觀者發起挑戰，引領著人們步入一個現實和眼前以外不一樣的世界。

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羅伯特·納瓦 (Robert Nava), 《鯊魚天使》, 2020年作
\n估價1,200,000 - 1,800,000港元
\n拍品 49, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術晚間拍賣, 11月30日

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羅伯特·納瓦

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著色光滑圓潤，散發著近乎孩童般的活力和愉悅之氣，羅伯特·納瓦的作品與以塞‧湯伯利和尚-米榭·巴斯奇亞兩位動勢畫派的代表有著很深的淵源。雖然完成後的作品看似潦草馬虎，納瓦曾指出，他創作一幅的最快速度僅為27秒 - 但他的創作過程一絲不苟、嚴謹細緻。他曾經說：「我知道我在做什麼。就是小心地將它做錯。」

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通吉·阿德尼伊-瓊斯 (Tunji Adeniyi-Jones), 《藍色祖宗》, 2019年作
\n估價 400,000 - 600,000港元
\n拍品 55, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術晚間拍賣, 11月30日

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敦吉·阿德尼伊-瓊斯

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出生於倫敦，常駐紐約的藝術家通吉·阿德尼伊-瓊斯通過具象繪畫來探索西非歷史、相關神話，以及自己繼承的約魯巴文化傳統和離散經歷，並因此迅速獲得藝術界的認可。他的繪畫以耀眼炫目的畫面呈現了祖先的儀式和慶典的場面，描繪了氣勢逼人，佔據畫布表面的扭曲肢體，以及兩眼放光、怒目圓睜的面具。

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「歐洲藝術和西非藝術之間有著許多動人的文化交疊，而我的作品正是對這種交流的探索，尤其是當這一交流的兩邊都是屬於我的文化。」
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辛格·桑松 (Cinga Samson), 《象牙5號》, 2018年作
\n估價 250,000 - 350,000港元
\n拍品 1, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術晚間拍賣, 11月30日

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辛格·桑松

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儘管出生於南非的辛格·桑松曾指出許多西方藝術家對其作品的重要影響，包括安德魯·魏斯、路易絲·布爾喬亞、保羅·高更，以及法蘭西斯·培根。然而，推動著他的創造力是弘揚非洲文化傳統, 除了強而有力地刻劃他自身一代的文化之餘並要打破西方固定的視角。

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「在我所擁有的所有藝術類書籍中，即便有非洲藝術家的存在，他們也總是被放在最後的章節...我想要人們看到我的作品時會想，『這真是精妙絕倫，這真是非同凡響，我深受震撼——而我知道它完完全全是屬於非洲藝術家的創作，』而並非感覺其中少了這一點。」
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王俊傑 (Matthew Wong), 《遠望》, 2017年作
\n估價 8,000,000 - 12,000,000港元
\n拍品 15, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術晚間拍賣, 11月30日

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王俊傑

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在藝術世界一夜成名，王俊傑被公認為過去五十年裡最引人矚目的藝術家之一，他的作品獲得了全世界許多重要公共機構的收藏，包括大都會藝術博物館，紐約；現代藝術博物館，紐約；達拉斯藝術博物館；雅詩蘭黛藝術收藏，紐約；以及艾什蒂基金会，貝魯特。

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創作於王俊傑短暫卻多產的藝術生涯晚期，《大自然的教堂》是藝術家不可多得的作品中一件絕佳典範之作。他曾經說：「我確實相信，很大部分的當代生活中，存在著一種揮之不去的孤獨感或憂鬱感，而在更廣的層面上，我認為我的作品除了反映我的想法、迷戀和衝動，也體現了這一特質」。

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相關專題

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《ULTRA/NEO》隆重登場，聚焦超新星當代藝術家 >

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現代大師之作>

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從美術館到拍賣場>

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女性凝視 - 她們眼中的虛實世界>

\n","2021-11-16T05:58:56.000000Z","https://www.phillips.com/article/86839069/in-demand-artists-hong-kong-fall-auction-cn",6,1415,3710,86839069,"https://flockler.com/thumbs/sites/889/160207-ad5f7f89-cfd9-4d91-93a7-e8ded1234f0f_s600x0.jpg","Highlighting the hottest artists on the market today, including young and emerging names in the contemporary art world.","In Demand: Artists to Watch","

Nicolas Party, Still Life, 2017
\nEstimate: HK$6,200,000 - 9,400,000 (US$795,000 - 1,210,000)
\nLot 20, 20th Century & Contemporary Art Evening Sale, November 30

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中文閱讀

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Nicolas Party

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Born in Lausanne, a Swiss city on the banks of Lake Geneva overlooking the Alps, Nicolas Party was inspired by the idyllic environment, which clearly figures in his acute fascination with the natural world.

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The gemstone shapes in Still Life, for example, are recognizable as pears and gourds, but in a layered formation, their sloping poses also conjure a landscape of rolling hills foregrounding pointed mountain peaks. With a flair for the uncanny, Party pushes this effect into overdrive in works anthropomorphizing organic forms, such as the dancing flowers of early Disney, and intensifying a sense of mystery by “applying a personality to them.”

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Javier Calleja, 30 works: Untitled, 2017
\nEstimate: HK$3,000,000 - 5,000,000 (US$385,000 - 641,000)
\nLot 7, 20th Century & Contemporary Art Evening Sale, November 30

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Javier Calleja

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Understood as a reflection of the artist himself, Javier Calleja’s characters have become beloved icons across the world, instantly recognizable for their endearing portrayals that are simultaneously sophisticated in technique and casually candid. Calleja masters this balance through expression, tonality and texture, most obvious in the contrast between his subjects’ watery, marble-like eyes and the more graphically simple elements that frame them.

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Evoking the delicate moment when a child stops crying and is about to break out into a smile once again, Calleja has revealed: “That is the moment I paint — when experiencing something bad and you just had a breakthrough. I think when a child is crying and then stops to cry, they’re a hero, because he or she decided to overcome the pain.”

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Liu Ye, Untitled, 1993
\nEstimate: HK$3,000,000 - 5,000,000 (US$385,000 - 641,000)
\nLot 39, 20th Century & Contemporary Art Evening Sale, November 30

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Liu Ye

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Contemporary Chinese painter Liu Ye is known for a singular body of work rich in aesthetic, historical and literary meaning, his dream-like imagery inspired by his childhood love of fairy tales and formative education in Europe.

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Distinguished from his fellow Chinese painters by a prevailing love of wonder and mystery, Liu’s bold and meditative paintings challenge viewers to participate in a world liberated from the concrete and present.

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Robert Nava, Angel Shark, 2020
\nEstimate: HK$1,200,000 - 1,800,000 (US$154,000 - 231,000)
\nLot 49, 20th Century & Contemporary Art Evening Sale, November 30

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Robert Nava

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Radiating an energy and delight almost infantile in its slick application of paint, Robert Nava’s works build on the gesturalism of artists such as Cy Twombly and Jean-Michel Basquiat. Despite the slapdash appearance of the finished works — Nava has said his quickest piece took a mere 27 seconds to complete — they are a product of rigorous discipline. “I know what I’m doing,” he once said. “It’s carefully done wrong.”

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Tunji Adeniyi-Jones, Blue Ancestor, 2019
\nEstimate: HK$400,000 - 600,000 (US$51,300 - 76,900)
\nLot 55, 20th Century & Contemporary Art Evening Sale, November 30

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Tunji Adeniyi-Jones

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London-born, New York-based artist Tunji Adeniyi-Jones has rapidly gained art world recognition for his use of figurative painting to explore West African history, its associated mythology, and his own Yoruba heritage and diasporic experiences. His paintings dazzle as celebrations of his ancestors’ ceremonies and rituals, featuring contorting limbs that are slammed up to the very surface of the canvas with astounding authority, and masks with eyes aglow and gazes magnified.

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“There are so many compelling cultural crossovers between European art and West African art, and my work is an exploration of this exchange, especially seeing as I can claim ownership over both sides of this transaction.”
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Cinga Samson, Ivory V, 2018
\nEstimate: HK$250,000 - 350,000 (US$32,100 - 44,900)
\nLot 1, 20th Century & Contemporary Art Evening Sale, November 30

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Cinga Samson

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While South African-born Cinga Samson has cited the significant influence of Western artists, including Andrew Wyeth, Louise Bourgeois, Paul Gaugin, and Francis Bacon, what ultimately drives his creativity is celebrating his heritage and presenting a powerful depiction of his generation in Africa that defies Western expectations.

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“In all my art books, African artists are in the last chapter, if at all…I want you to look at my work and think, ‘That’s exquisite, that’s incredible, I am blown away — and I know it is completely African,’ without feeling that it is lacking.”
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Matthew Wong, Far Away Eyes, 2017
\nEstimate: HK$8,000,000 - 12,000,000 (US$1,030,000 - 1,540,000)
\nLot 15, 20th Century & Contemporary Art Evening Sale, November 30

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Matthew Wong

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Matthew Wong’s rapid rise to stardom is widely considered one of the most remarkable in the past half century. His work has been honored with inclusion in notable public collections worldwide, including the Metropolitan Museum of Art and Museum of Modern Art in New York, the Dallas Museum of Art and the Aïshti Foundation in Beirut.

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Painted within the final years of Wong’s prolific yet short-lived years, Nature’s Church is a superlative example from the artist’s limited oeuvre. “I do believe that there is an inherent loneliness or melancholy to much of contemporary life,” he once said, “and on a broader level I feel my work speaks to this quality in addition to being a reflection of my thoughts, fascinations and impulses.”

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Recommended Reading

\n\n

Modern Masters >

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The Female Gaze: 10 Works by Women in the Hong Kong Sales >

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\n","2021-11-16T07:12:00.000000Z","https://www.phillips.com/article/86120593/in-demand-artists-hong-kong-fall-auction",5,1414,3694,86120593,"https://flockler.com/thumbs/sites/889/162737-c02a1312-b668-470d-940a-ebd7ab33d1ea_s600x0.jpg","一眾女性藝術家成長於不同年代和背景，受不同文化影響，各自以獨特藝術語彙締造鮮明的個人風格。","女性凝視 - 她們眼中的虛實世界","

米卡琳·托馬斯, 《往上看》(出自《她為錢賣命海報女郎系列》), 2004年作
\n估價: 1,000,000 - 2,000,000港元
\n拍品52, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術晚間拍賣, 11月30日

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米卡琳·托馬斯《往上看》(出自《她為錢賣命海報女郎系列》)

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米卡琳·托馬斯的藝術創作帶有刻意的顛覆性：她無視異性戀正統主義的話語，改寫美的定義，賦權予有色女性，同時模糊了低端和高端藝術之間的界限。厲蔚閣紐約空間目前正為她舉辦個展《超越快樂原則》，托馬斯的創作所主要表達的對黑人女性的讚頌受到藝術機構的廣泛關注，作品曾在古根漢美術館和惠特尼美國藝術博物館（均在紐約）展出，並為紐約現代藝術博物館等機構收藏。

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妮娜·香奈兒·阿布尼, 《無題 (IXI 黑色)》, 2015年作
\n估價: 1,500,000 - 2,500,000港元
\n拍品3, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術晚間拍賣, 11月30日

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妮娜·香奈兒·阿布尼《無題 (IXI 黑色)》

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紐澤西藝術家妮娜·香奈兒·阿布尼，以其引人注目、獨特的藝術作品而聞名，她的作品探索了當代城市生活的複雜社會張力。作為阿布尼在亞洲拍賣的第一幅畫作，《無題 (IXI 黑色)》是她所有作品中令人難以置信地引人注目的作品，這件作品也是她的首次美術館個展「妮娜·香奈兒·阿布尼：皇家同花順」的一部分。

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賈黛·法多朱蒂米, 《足跡的探尋》, 2017年作
\n估價: 1,200,000 - 2,200,000港元
\n拍品51, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術晚間拍賣, 11月30日

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賈黛·法多朱蒂米《足跡的探尋》

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作為當今最令人興奮的畫家之一，出生於倫敦的賈黛·法多朱蒂米已證明自己是當代藝術界不可忽視的力量。《足跡的探尋》創作於 2017 年。該年，法多朱蒂米於倫敦著名的皇家藝術學院畢業，在畢業展上首次受到 Pippy Houldsworth 畫廊的關注，地位迅速獲得躍升。這幅作品當年在英國當代繪畫大獎展覽上展出，完美地體現了法多朱蒂米廣受讚譽的朝氣與活力。

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朱莉·柯蒂斯, 《橫向擁抱 II》, 2018年作
\n估價: 1,200,000 - 1,800,000港元
\n拍品102, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術和設計日間拍賣, 11月29日

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朱莉·柯蒂斯《橫向擁抱 II》

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朱莉·柯蒂斯出生於法國，父親是越南人，母親是法國人。2006 年她從巴黎著名的美術學院畢業後移居東京，目前居於布魯克林。柯蒂斯一生中經歷的各種文化碰撞所造成的張力讓她被「他者」的概念所吸引；她的作品中同時散發出來的吸引力和排斥力組織成一種詭異的對立性舞蹈，完美地詮釋了「他者」的主題。因此，繪畫中的主題常是抽象且令人不安的；頭髮如同瘋狂信仰的聖物般存在於畫面中。這個主題被柯蒂斯融入油畫、水粉和實驗雕塑中。

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洛伊·霍洛韋爾, 《舔舔：藍色、綠色、紅色》, 2015年作
\n估價: 800,000 - 1,200,000港元
\n拍品102, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術和設計日間拍賣, 11月29日

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洛伊·霍洛韋爾《舔舔：藍色、綠色、紅色》

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富藝斯很榮幸地在亞洲拍賣會首次推出洛伊·霍洛韋爾的《舔舔》系列作品。霍洛韋爾以探索身體姿態的作品議題而聞名。她的畫作橫跨抽象與具象、空靈與形體，並對懷孕和生育等主題進行了研究。

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艾米莉·梅·史密斯, 《一千個日子》, 2017年作
\n估價: 600,000 - 900,000港元
\n拍品103, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術和設計日間拍賣, 11月29日

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艾米莉·梅·史密斯《一千個日子》

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出生於德克薩斯州、常駐布魯克林的藝術家艾米莉·梅·史密斯精緻美妙的繪畫可以用充滿像徵主義、諷刺和異想天開來形容其特點。在過去的二十年裡，她的創作在國際上讚譽不斷。著眼於流行文化、超現實主義和修正主義史學，史密斯在其創作中大量使用和改編各種各樣的參考，創造出了一個她自己獨特、錯綜複雜的幻想世界，她的掃帚人形象就住在這個世界裡。代表了藝術家的畫筆，同時也是女性從事家務的象徵，這個掃帚人形象的靈感來自迪士尼的《幻想曲》中跳舞的魔法掃帚，而史密斯正希望將它「從電影中幹粗活和負責生育的角色」中解放出來。

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珍尼維·菲吉斯, 《化妝間》, 2017年作
\n估價: 600,000 - 900,000港元
\n拍品112, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術和設計日間拍賣, 11月29日

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珍尼維·菲吉斯《化妝間》

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來自愛爾蘭的當代藝術家珍尼維·菲吉斯以其詼趣與顛覆性的集體肖像而聞名，其作品嘲諷著數世紀以來的社會規範。此前的藝術家盡心盡力捕捉西方商業消費及富裕中產階級的品味，而菲吉斯則以獨特的諷刺手法，結合真實人生中的慘淡寫照，將這個題材實實在在地推至到當下社會的語境之中。在《化妝間》中，菲吉斯作品中典型的濃密紋理和俏皮細節顯而易見。

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克裡絲汀·艾珠, 《歡迎獨白5號》, 2007年作
\n估價: 500,000 - 700,000港元
\n拍品206, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術和設計日間拍賣, 11月29日

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克裡絲汀·艾珠《歡迎獨白5號》

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克里絲汀‧艾珠是東南亞當代藝術裡一位重要的藝術家，其作品觸動視覺及引人遐思的風格聞名國際，透過細膩的視覺語言，她優美靜謐的構圖有著既撼動人心卻又讓人沉澱的衝突力量，作品廣泛內涵了許多哲學及靈學的典故，不僅在訴說著她個人內在的情緒動盪，同時也延伸到所有人類共同與生俱來的內在情感。

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克萊爾·特伯萊, 《亡魂》, 2015年作
\n估價: 400,000 - 600,000港元
\n拍品109, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術和設計日間拍賣, 11月29日

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克萊爾·特伯萊《亡魂》

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常駐洛杉磯的法國藝術家克萊爾·特伯萊從她個人的照片和記憶為出發點，用柔和的藍色、綠色或如《亡魂》中引人注目的黃色筆觸來創作。特伯萊熱衷於用明亮的色彩或不和諧的尖銳色調來刻畫「人」這一中心主題。她在作品中收集並整理歷史上的一些關鍵人物和時刻，以一種微妙的、超越時空的形式為他們賦予生命。

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希拉里·佩西斯, 《比佛利》, 2017年作
\n估價: 200,000 - 300,000港元
\n拍品104, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術和設計日間拍賣, 11月29日

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希拉里·佩西斯《比佛利》

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在平衡全職工作和成為一位新母親的責任之後，希拉里·佩西斯才在2019 年轉型成為全職藝術創作者。她的作品是寫給陽光普照的洛杉磯的情書。佩西斯從健行、拜訪朋友和她自己身邊的個人照片中獲取靈感，用飽和的色彩和圖案創作風景與生活畫面，再現南加州的精髓。

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莎拉·休斯 (Shara Hughes)《法定監護人》，2004年作
\n估價: 800,000 - 1,200,000港元
\n拍品106, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術和設計日間拍賣, 11月29日

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莎拉·休斯《法定監護人》

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紐約視覺藝術家莎拉·休斯因其超現實主義的、顛覆了觀眾對現實的認知的風景畫和室內畫而名聲鵲起。這些畫以強烈的野獸派和德國表現主義的手法所創，描繪出各種虛擬和夢幻的空間。《法定監護人》是一扇通往不同夢幻世界的窗戶：一面紋理豐富的綠色森林牆壁上安裝著鹿頭動物標本，下面有一張納瓦霍編織地毯，而旁邊的鑲釘門框外就是還泛著水波紋的現代游泳池。這種由一維向二維視覺空間的轉變令人迷失方向，結合那些名義上存在的隱形的守護者，一同將觀眾帶到一種在迷戀和排斥之間徘徊的狀態之中。

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相關專題

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\n","2021-11-20T07:49:23.000000Z","https://www.phillips.com/article/87091160/women-artists-hong-kong-fall-auction-cn",4,1429,3730,87091160,"https://flockler.com/thumbs/sites/889/162737-b15a4d09-235d-4f8d-b67b-6c7363cf581e_s600x0.jpg","Empowering works by female artists from different cultures, backgrounds and eras, each with her own distinct style and artistic vocabulary.","The Female Gaze: 11 Works by Women in the Hong Kong Sales","

Mickalene Thomas, Looking Up (From the She Works Hard for the Money Pin-Up Series), 2004
\nEstimate: HK$1,000,000 - 2,000,000 (US$128,000 - 256,000)
\nLot 52, 20th Century & Contemporary Art Evening Sale, November 30

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中文閱讀

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**Mickalene Thomas, Looking Up (From the She Works Hard for the Money Pin-Up Series)**

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Mickalene Thomas is deliberately subversive in her art practice, defying heteronormative discourse, redefining beauty and empowering women of color, all while blurring the divide between high and low art. Currently the subject of a global solo show, Beyond the Pleasure Principle, Thomas’ body of work, with its chief concern of celebrating Black women, has been exhibited at the Guggenheim and Whitney, and collected by the Museum of Modern Art in New York.

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Nina Chanel Abney, Untitled (IXI Black), 2015
\nEstimate: HK$1,500,000 - 2,500,000 (US$192,000 - 321,000)
\nLot 3, 20th Century & Contemporary Art Evening Sale, November 30

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Nina Chanel Abney, Untitled (IXI Black)

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New Jersey-based artist Nina Chanel Abney is celebrated for her striking, distinctive artwork that explores the complex social dynamics of contemporary urban life. As the first painting by Abney to be offered at auction in Asia, Untitled (IXI Black) is an incredibly arresting work from her oeuvre which was featured as part of her first museum solo exhibition, Nina Chanel Abney: Royal Flush.

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Jadé Fadojutimi, Fishing for Steps, 2017
\nEstimate: HK$1,200,000 - 2,200,000 (US$154,000 - 282,000)
\nLot 51, 20th Century & Contemporary Art Evening Sale, November 30

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Jadé Fadojutimi, Fishing for Steps

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One of the most exciting painters working today, London-born Jadé Fadojutimi has proven to be an indomitable force in the contemporary art world. Fishing for Steps was created in 2017, the same year as Fadojutimi’s graduation degree show at London’s prestigious Royal College of Art, where she first caught the attention of the Pippy Houldsworth Gallery, launching her meteoric rise to success. Perfectly exemplifying the dynamism and vibrancy for which she has become critically acclaimed, the work was presented at the Contemporary British Painting Prize exhibition that year.

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Julie Curtiss, Lateral Embrace II, 2018
\nEstimate: HK$1,200,000 - 1,800,000 (US$154,000 - 231,000)
\nLot 102, 20th Century & Contemporary Art & Design Day Sale, November 29

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Julie Curtiss, Lateral Embrace II

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Born in France to a Vietnamese father and a French mother, Julie Curtiss moved to Tokyo following her graduation from Paris’ prestigious Ecole des Beaux‐Arts in 2006 and is currently based in Brooklyn. The tensions wrought by this intermingling of cultures drew Curtiss to the idea of the “other,” as translated in her work through the uncanny dance between attraction and repulsion. The subjects of her figurative paintings are disquieting, utilizing the symbol of hair with a near fetishistic intensity. This motif is incorporated into oil paintings, gouaches and experimental sculptures.

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Loie Hollowell, Lick Lick in Blue, Green and Red, 2015
\nEstimate: HK$800,000 - 1,200,000 (US$103,000 - 154,000)
\nLot 102, 20th Century & Contemporary Art & Design Day Sale, November 29

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Loie Hollowell, Lick Lick in Blue, Green and Red

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Phillips is excited to present the first painting from Loie Hollowell’s Lick Lick series to come to auction in Asia. Known for paintings which explore the bodily landscape, Hollowell’s practice lies in a realm situated between abstraction and figuration, the ethereal and corporeal, and investigates themes of sexuality, pregnancy and birth.

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Emily Mae Smith, A Thousand Days, 2017
\nEstimate: HK$600,000 - 900,000 (US$76,900 - 115,000)
\nLot 103, 20th Century & Contemporary Art & Design Day Sale, November 29

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Emily Mae Smith, A Thousand Days

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Tangled in symbolism, the wry and whimsical paintings of Emily Mae Smith have earned her significant international praise that only continues to grow. Looking to pop culture, surrealism and revisionist historiography, Smith devours and reformulates a wide variety of references to create her unique, intricate fantasy worlds within which her iconic Broomstick character resides. Its image nods to the artist’s paintbrush and acts as a symbol of women-oriented domestic labor, with inspiration specifically taken from the dancing broomsticks in Disney’s Fantasia whom Smith aims to liberate “from the film’s menial labor and reproduction role.”

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Genieve Figgis, The Powder Room, 2017
\nEstimate: HK$600,000 - 900,000 (US$76,900 - 115,000)
\nLot 112, 20th Century & Contemporary Art & Design Day Sale, November 29

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Genieve Figgis, The Powder Room

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Genieve Figgis is a contemporary Irish painter known for her witty and subversive group portraits which satirize social norms of centuries past. Lampooning Western commercial consumption and the bourgeois tastes of the upper-middle class as dutifully captured by artists of the past, Figgis brings these subjects firmly into the present day with a mixture of satire and poignant depictions of real life. In The Powder Room, the hallmarks of Figgis’ work — lushly painted textures and playful details — are all present.

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Christine Ay Tjoe, Welcome Monolog #5, 2007
\nEstimate: HK$500,000 - 700,000 (US$64,100 - 89,700)
\nLot 206, 20th Century & Contemporary Art & Design Day Sale, November 29

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Christine Ay Tjoe, Welcome Monolog #5

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Internationally recognized for her visually arresting and thought-provoking pieces, Christine Ay Tjoe is one of Southeast Asia’s most prominent contemporary artists. Known for her distinctly intricate visual language, Ay Tjoe’s beautifully introspective compositions are at once loud and contemplative, drawing from a diverse range of philosophical and spiritual references that simultaneously manifest the artist’s inner turmoil while speaking to the universal nature of human emotions.

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Claire Tabouret, La Revenante (The Female Revenant), 2015
\nEstimate: HK$400,000 - 600,000 (US$51,300 - 76,900)
\nLot 109, 20th Century & Contemporary Art & Design Day Sale, November 29

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Claire Tabouret, La Revenante (The Female Revenant)

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Drawing upon a personal archive of photographs and memories, the LA-based French artist Claire Tabouret creates her paintings with sweeping brushstrokes of muted blues, greens and — as in the striking example of La Revenante — yellows. The human being, often represented with evocative colors and dissonant acid hues, is at the center of Tabouret’s practice. With a subtle fil rouge transcending space and time, her research puts together some key characters and moments in history, bringing them to life through her art.

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Hilary Pecis, Beverly, 2017
\nEstimate: HK$200,000 - 300,000 (US$25,600 - 38,500)
\nLot 104, 20th Century & Contemporary Art & Design Day Sale, November 29

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Hilary Pecis, Beverly

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After balancing a full‐time job with being a new mother, Hilary Pecis only recently transitioned to art full-time in 2019. Her paintings are a love letter to sun‐drenched Los Angeles, with imagery taken from an archive of personal snapshots taken on hikes, visits with friends and from her own surroundings. Pecis crafts still-lifes and landscapes saturated with pattern and color, reproducing the essence of southern California.

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Shara Hughes,Legal Guardian,2004
\nEstimate: HK$800,000 - 1,200,000(US$103,000-154,000)
\nLot 106,20th Century & Contemporary Art & Design Day Sale, November 29

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Shara Hughes,Legal Guardian

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New-York based visual artist Shara Hughes is widely recognised for her surreal landscape and interior paintings that reinvigorate the viewer’s perception of reality, and the intense Fauvist- and German Expressionist-inspired palette that suffuses these invented, dream-like spaces.Legal Guardian is a window into multiple phantasmagorical worlds: the woven Navajo rug placed under taxidermy deer heads which are mounted on richly textured forest green walls, whilst a modern swimming pool with churning waters lies just beyond the studded doorframe. The disorienting shift in one-point and two-point perspective between the two worlds, together with the invisible presence of the titular guardian, pulls the viewer between alternating states of enigmatic fascination and cryptic repulsion.

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Recommended Reading

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In Demand: Artists to Watch >

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From Museum to Auction >

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\n","2021-11-19T07:12:00.000000Z","https://www.phillips.com/article/86120604/women-artists-hong-kong-fall-auction",3,1428,3693,86120604,"https://flockler.com/thumbs/sites/889/156659-1c7a4b71-53a4-450c-a1dc-7cee90173d33_s600x0.jpg","富藝斯隆重呈獻全新拍賣主題《 ULTRA/NEO》，聚焦新一代冒起的當代藝術家。本季重點, 我們放眼於亞洲地區, 包括來自中國、日本、東南亞的後起之秀藝術家。上述主題並將在晚間和日間拍賣呈現。","《ULTRA/NEO》隆重登場，聚焦超新星當代藝術家","

松山智一 (Tomokazu Matsuyama), 《聖尿》, 2012年作
\n估價: 200,000 - 300,000港元
\n拍品 147,富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術和設計日間拍賣 , 11月29日

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在文化背景急劇變化之下，當代藝術成為發展如日中天的門類，而《ULTRA/NEO》正好扮演傳遞橋樑，向這群「超新星」當代藝術家致意。他們生於1970年代以後，見證全球日新月異的科技與豐富的文化創建。

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鑒於這一代藝術家身處「超越」及「創新」的當代邊緣空間，富藝斯今次的主題便融合了「Ultra」和「Neo」兩詞。本季我們重點推介的年輕亞洲人才，為全新拍賣主題掀起序幕。

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這群藝術家同是成長於互聯網時代，他們創作上也有著不少的共同點。除了在東西方藝術史的基礎上創作外, 還會擅長於採用鮮艷耀眼的色彩對比、不一的粗線條和扁平形態等來對全球化、民族認同和人類狀況等主題帶來嶄新視角。本次主題的精選藝術家包括：山本麻由香、江上越、鹽田千春、崔潔和毛焰等。他們共同代表一種澎拜新動力，透過創作重新定義與當下藏家產生共鳴的作品。

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加藤泉 (Izumi Kato), 《無題》2008年作
\n估價4,500,000 - 7,500,000港元
\n拍品 41, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術晚間拍賣, 11月30日

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加藤泉

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1990年代初期日本經濟泡沫化，讓當時的商業畫廊在營運上舉步艱難，更別說去資助年輕藝術家成長。1992年，加藤泉畢業於日本最著名藝術學院之一的武藏野美術大學造形學部油繪科，隨後因經濟上的緣故無法即刻開始藝術家生涯，在以建築工人維生數年後，他才在30歲那年決定專注於藝術家的身分，開始潛心於創作。

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創作初期加藤泉多專注於抽象風景，後來才以各種神祕、怪誕的象徵性肖像作為主體。由於是本科出身，他受到藝術史的薰陶，從非洲傳統藝術到立體主義大師畢加索，再從梵高到具象派畫家培根，這些藝術家對加藤泉的風格影響極大，也往往能從他畫中人物或構圖上得以窺測一班。

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上條晋 (Susumu Kamijo), 《往太陽前進》, 2020年作
\n估價 450,000 - 650,000 港元
\n拍品 50, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術晚間拍賣, 11月30日

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上條晋

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上條晋利用現實事物抽象化並融合美學角度，渾成為自身獨特的視覺語言。畫作中精煉極簡的輪廓和對比色塊頗有亨利．馬蒂斯的剪紙創作中脫俗、率真與質樸。在一系列貴賓犬的畫作中, 捲毛部份採用的點畫技法，令人聯想起草間彌生和珍妮佛·圭迪等作品以靈巧和觸感著稱的藝術家。畫作中, 以鮮艷拼色與輪廓分明的硬邊抽象畫處理方式, 而平面構圖亦賦予作品充滿日本木刻版畫風格。

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上條於 2014 年發表出他那標誌性的貴賓犬圖案。他選擇貴賓犬原因是其奇特的形狀，尤指那些捲毛修剪後的造型。上條始終對構成形狀線條、顏色和純粹藝術形式的基本元素著迷，因此他參考狗展或雜誌照片作為靈感，連最基本的元素：眼睛、耳朵、鼻子、嘴巴都被解構成起伏的形狀、極簡的輪廓和銳利的線條。

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加賀温, 《即使月亮被雲朵遮蓋，我們依然在這裏（在封鎖期間）（繼薩金特）》, 2020年作
\n估價 200,000 - 300,000港元
\n拍品 136, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術和設計日間拍賣, 11月29日

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加賀温

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在都柏林國立藝術與設計學院接受教育的加賀温自稱「宅男」，他喜以日本動漫、動畫及諷刺性愛爾蘭文學來細說故事。他的創作糅合西方藝術史、哲學、塞爾特文化及日本繪畫。

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作品中的兔子猶如自畫像，描繪藝術家另一面向，以擬人化角色帶領觀者穿越另一複雜宇宙。

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松山智一 (Tomokazu Matsuyama),《歐米茄夫人》, 2020年作
\n估價 200,000 - 300,000港元
\n拍品146, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術和設計日間拍賣, 11月29日

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松山智一

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松山智一曾在洛杉磯、紐約、倫敦、東京和日本岐阜縣高山市生活過，因此長期以來對他自身日本和美國的二元身份甚感興趣。因而，他的作品試圖從西方與東方、點綴性與概念性、傳統與現代等各種極端狀態之間找到共同點，從而淬煉出不同的文化火花。這些多元融合的作品靈感源自日本傳統藝術、迪士尼動畫、西方設計的美感以及日本傳統色系。

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井田幸昌 (Yukimasa Ida), 《頭》, 2019年作
\n估價 240,000 - 420,000港元
\n拍品158, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術和設計日間拍賣, 11月29日

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井田幸昌

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井田幸昌其美輪美奐、令人難以忘懷的作品在現實主義和抽象主義之間取得了微妙的平衡。他的作品傾注了念舊之情及對人類存在的轉瞬即逝本質深入了解。近年來，井田幸昌的作品對一個日本諺語「ichi-go ich-e」，其意為「一期一會」的概念進行了探索。他的反思源於他在印度貧民窟的經歷，令他對既美麗又殘酷的現實感到疲憊不已。

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六角彩子 (Ayako Rokkaku), 《無題 ARP 07-013》, 2007年作
\n估價 2,000,000 - 3,000,000港元
\n拍品139, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術和設計日間拍賣, 11月29日

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六角彩子

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雖然六角彩子從未上過藝術學校，但她卻研究出自己的繪畫技巧，即是直接用她的雙手和指尖在畫布上塗抹顏料。六角也使用超越傳統媒介的素材，創作材料從硬紙板、到復古路易威登手提箱再到層層膠片和羊毛。她的作品皆充滿爆炸性的彩虹能量，喚記起孩童劃下無憂無慮的筆觸，並融入了印象派的元素及濃密的色彩條紋。

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與日本動漫經典和「卡哇伊」文化相似，六角筆下的女孩們非常迷人；但是，作品並非如表面氛圍一般看似愉快。六角的女孩們散發純真的氣質，但彩虹的表面下卻蟄伏著一絲不安或浮躁，暗示著情緒的動盪。這些變化多端，充滿童趣的表象承襲自日本美學，讚譽著淳樸及偶然緣分的樂趣，同時也點出那些兒童的純潔之心正面對著潛在的脅逼。

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黃宇興 (Huang Yuxing), 《浮沉的氣泡》, 2014年作
\n估價 1,800,000 - 2,800,000港元
\n拍品34, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術晚間拍賣, 11月30日

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黃宇興

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畢業於中央美術學院的黃宇興是當今備受讚譽的中國畫家。與同時代藝術家不同的是，黃宇興並沒有通過藝術去表達在迅猛、劇烈的經濟改革和城市化進程中成長的一代人所遭受的意識形態的幻滅。他集中用自己的視覺語言來捕捉「時間的永恆輪迴」和「人性的複雜」之間的內在張力。從自然界汲取靈感，他用上色彩明豔的畫面，重新構建起周遭的世界, 從而扭曲對現實的感知。

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黃宇興忠於創作的過程，他不斷將色彩和細緻的筆觸相互交疊，這一方法之中流露著中國山水畫中工筆技法所採用的渲染和描繪精細輪廓之傳統。然而，畫面中不存在用來固定構圖的水平線，於是將觀者陶醉在一個沒有界定的空間之中，這個空間可以被任意解讀，因為這些抽象圖案可以被視為對內心的一種沈思和探索。

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趙趙 (Zhao Zhao), 《天空2號》, 2013-14年作
\n估價100,000 - 200,000 港元
\n拍品133, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術和設計日間拍賣, 11月29日

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Zhao Zhao 趙趙

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趙趙以其不拘一格的藝術作品和其艾未未助手的特殊身份而在近年來逐漸受到國際上的認可和讚譽。2019年，趙趙在北京松美術館舉辦首場美術館個展。同年，他獲得了「AAC藝術中國年度藝術家大獎」。

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他的《天空》系列作品於 2015 年首次亮相，運用不同層次及色調的藍色油彩在亞麻布上捕捉了天空中雲卷的絕妙景象。這一系列作品是趙趙對北京空氣污染問題的回應，體現出他對罕見藍天的思念之情。的確，畫面中滾滾的黑暗讓人聯想到濃密的煙霧；隱約可見的陽光在幾片稀疏的藍色天空下似乎難以穿透。

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禤善勤 (Chris Huen), 《狗狗請進》, 2013-14年作
\n估價300,000 - 500,000港元
\n拍品137, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術和設計日間拍賣, 11月29日

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禤善勤

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常駐香港的藝術家禤善勤的作品是對自己日常生活經驗的一種觀察，通過將生活中的家常與超現實進行迅速結合，呈現動人的瞬間。

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禤善勤的創作不事先畫素描或底稿，而是熟練地直接在大型畫布上用來自傳統水墨畫和抽象繪畫的技巧作畫。他的作品展現了自己對周圍事物的敏銳感知，其靈感來自他的家或在元朗的工作室周圍的人、事和風景。藝術家的作品刻意忽略細節，直覺性地喚起感覺或記憶中稍縱即逝、或已然遺忘的瞬間，讓夢境般的圖像從自由生長、雜亂隨意的油彩中浮現。

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陳飛 (Chen Fei), 兩件作品：(i)《殺人者系列：切膚之愛》; (ii)《殺人者系列：歌劇魅影》, 2010年作
\n估價 70,000 - 120,000港元
\n拍品157, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術和設計日間拍賣, 11月29日

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陳飛

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陳飛現居於中國北京，他生於中國80年代後，執行一胎化政策之時，見證了中國經濟的巨大發展。他的作品很大程度上受到了主流文化的影響，例如漫畫和動漫等。陳飛的作品就像電影的情節,反映了他的電影教育背景。

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作品的敘事常常充滿了幻想和黑色幽默，他試圖追求現實主義和超現實主義的並行畫面。陳飛的作品充滿政治諷刺並評論中國文化和經濟發展，以及它如何影響全球化。藝術家經常將自身轉化為一種自我嘲諷和自我批評的形式在作品中出現。

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相關專題

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\n","2021-11-15T10:34:33.000000Z","https://www.phillips.com/article/86788983/ultra-neo-hong-kong-fall-auction-cn",2,1411,3708,86788983,"https://flockler.com/thumbs/sites/889/156659-f88a2077-8b2a-4303-a36f-079a2d736c5f_s600x0.jpg","Phillips is proud to present ULTRA/NEO, a themed series centered on a new generation of rising ultra-contemporary artists. This season, we’re kicking off the series with a focus on Asia, with a lineup of up-and-coming artists from China, Japan and Southeast Asia in our Hong Kong sales.","Introducing ULTRA/NEO, Our Spotlight on Ultra-Contemporary Talent","

Tomokazu Matsuyama, Holy Urine, 2012
\nEstimate: HK$200,000 - 300,000 (US$25,600 - 38,500)
\nLot 147, 20th Century & Contemporary Art & Design Day Sale, November 29

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中文閱讀

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In a category that is constantly evolving, against a backdrop of accelerated cultural change, ULTRA/NEO is our love letter to a selection of ultra-contemporary artists, all born after the 1970s in a world that has seen rapid developments, both technological and cultural.

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The amalgamation of “ultra” and “neo” draws on the hyper-contemporary, liminal spaces in which artists of our generation exist. This season, Phillips is kicking off the series with a focus on young Asian talent.

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All raised in the age of the internet, they share a common thread: their strong ability to build upon Eastern and Western art history, to imbue a fresh perspective on themes of globalization, national identity and human condition through the use of high-octane color palettes, bold lines and flattened forms. Artists in this curation include Mayuka Yamamoto, Etsu Egami, Chiharu Shiota, Cui Jie and Mao Yan. Together, they represent a dynamic force that is redefining what resonates with collectors of our time.

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Izumi Kato, Untitled, 2008
\nEstimate: HK$4,500,000 - 7,500,000 (US$577,000 - 962,000)
\nLot 41, 20th Century & Contemporary Art Evening Sale, November 30

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Izumi Kato

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Graduating from the department of oil painting at Tokyo’s Musashino University in 1992, Izumi Kato found his artistic career delayed by economic circumstances (Japan’s asset price bubble had just burst). For years, he worked as a construction worker to make a living. Only until he was 30 did he decide to fully identify as an artist and concentrate on his love of creation.

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Initially, Kato focused on abstract landscapes. However, his attention gradually shifted to symbolic portraits of mysterious and grotesque forms. As an art major, he studied traditional African art, Pablo Picasso, Vincent van Gogh and figurative master Francis Bacon — all influences which are readily visible in the subjects and compositions of Kato’s paintings.

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Susumu Kamijo, Marching to the Sun, 2020
\nEstimate: HK$450,000 - 650,000 (US$57,700 - 83,300)
\nLot 50, 20th Century & Contemporary Art Evening Sale, November 30

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Susumu Kamijo

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Susumu Kamijo’s visual language abstracts reality through a blend of aesthetic styles. His sublimated minimalist shapes and contrasting constellation of colors recall the organic elegance of Henri Matisse’s cut-outs. His Pointillist daubs of poodle fur invoke the dexterous, tactile works of artists such as Yayoi Kusama and Jennifer Guidi, while his use of block color and isolated forms lend his compositions the hard-edged, graphic style of ancient Japanese woodblock printing.

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Kamijo arrived at his signature motif, the poodle, in 2014, drawn by their peculiar shape and clipped, coiffed fur. For his drawings, Kamijo used photographs from dog shows and magazines as inspiration, and then reduced them to their most essential elements — eyes, ears, nose and mouth — which he then deconstructed into undulating shapes.

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Atsushi Kaga, We Are Still Here Even Though the Moon Is Clouded (During the Lockdown) (After Sargent), 2020
\nEstimate: HK$200,000 - 300,000 (US$25,600 - 38,500)
\nLot 136, 20th Century & Contemporary Art & Design Day Sale, November 29

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Atsushi Kaga

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Through the eyes of a self-proclaimed otaku, Atsushi Kaga mixes storytelling with manga, anime and satirical Irish literature, owing to his education at the National College of Art and Design in Dublin. His work incorporates a mixture of Western art history, philosophy, Celtic culture and Japanese painting.

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The bunny in this work is somewhat of a self-portrait, his alter ego. The goal is to take viewers on journey through a complex alternate universe with anthropomorphic characters.

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Tomokazu Matsuyama, Mrs. Omega, 2020
\nEstimate: HK$200,000 - 300,000 (US$25,600 - 38,500)
\nLot 146, 20th Century & Contemporary Art & Design Day Sale, November 29

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Tomokazu Matsuyama

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Having lived in Los Angeles, New York, London, Tokyo and Takayama, Tomokazu Matsuyama has long been interested in the dichotomy between his Japanese and American identities. His art attempts to find common threads between two poles — Western and Eastern, ornamental and conceptual, traditional and contemporary — resulting in an alchemical explosion of different cultures. His hybrid works take inspiration from traditional Japanese art, Disney animations, Western design sensibilities and Japanese color schemes.

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Yukimasa Ida, A Head, 2019
\nEstimate: HK$240,000 - 420,000 (US$30,800 - 53,800)
\nLot 158, 20th Century & Contemporary Art & Design Day Sale, November 29

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Yukimasa Ida

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Yukimasa Ida’s hauntingly beautiful works strike a fine balance between realism and abstraction, infused with a deep sense of nostalgia and appreciation for the fleeting nature of human existence. In recent years, the artist has explored the concept of ichi-go ich-e, a Japanese idiom that translates to “once-in-a-lifetime moment.” This exploration stemmed from his encounters in the slums of India, where he was drawn toward the dual beauty and cruelty of time.

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Ayako Rokkaku, Untitled ARP 07-013, 2007
\nEstimate: HK$2,000,000 - 3,000,000 (US$256,000 - 385,000)
\nLot 139, 20th Century & Contemporary Art & Design Day Sale, November 29

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Ayako Rokkaku

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Ayako Rokkaku never attended art school but developed her own painting technique, using her bare hands and fingertips to apply acrylic onto canvas. She has since moved beyond traditional media, transforming materials ranging from cardboard to vintage Louis Vuitton suitcases to layered acetate and wool. Her works of art hum with an explosive rainbow energy, evoking the carefree mark‐making of children mixed with elements of impressionism in their thickly applied streaks of color.

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In line with the canon of Japanese anime, Rokkaku’s girls are deceptively charming. A glint of dissatisfaction and impetuousness lurks behind their seeming innocence, alluding to emotional turmoil rippling beneath the rainbow surface. The metamorphosing, playful surfaces adhere to a lineage of Japanese aesthetics, celebrating the pleasures of the spontaneous and occasional, while also addressing the potential threats to the purity of children.

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Huang Yuxing, Floating Bubbles, 2014
\nEstimate: HK$1,800,000 - 2,800,000 (US$231,000 - 359,000)
\nLot 34, 20th Century & Contemporary Art Evening Sale, November 30

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Huang Yuxing

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A graduate of Beijing’s prestigious Central Academy of Fine Arts, Huang Yuxing is one of the most acclaimed Chinese painters working today. Unlike many of his contemporaries, whose art expresses their disillusionment with having grown up under drastic economic reforms and rapid urbanization, Huang has focused his visual language on capturing the inner tension between what he calls the “eternal cycles of time” and “complexity of human nature.” Drawing inspiration from the natural environment, his vibrant canvases distort reality by reconstructing the world around him.

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Devoted to the process of creation itself, Huang superimposes layers upon layers of color with meticulous brushstroke, applying a method that reveals the traditions of tonality and sharp form in Chinese gongbi landscape painting. But with no horizon line to ground his compositions, viewers are instead immersed into an ambiguous space open to interpretation as abstract patterns come to be understood as a contemplative exploration of the psyche.

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Zhao Zhao, Sky No. 2, 2013-14
\nEstimate: HK$100,000 - 200,000 (US$12,800 - 25,600)
\nLot 133, 20th Century & Contemporary Art & Design Day Sale, November 29

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Zhao Zhao

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Leading Chinese contemporary artist Zhao Zhao is famous for his non-conformist work and role as the long-time assistant of influential Chinese artist and activist Ai Weiwei. Zhao has been the subject of increasing international recognition and acclaim in recent years. In 2019, he held his first solo museum exhibition at the Song Art Museum in Beijing and won AAC Art China’s Artist of the Year Award.

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His beautifully-rendered Sky paintings, first unveiled in 2015, depict billowing clouds that undulate across the canvas. These works serve as Zhao’s response to the air pollution in Beijing, and the rarity of having a clear blue sky in the city. Indeed, the apparent thickness of the work’s billowing darkness is reminiscent of a dense smog, through which patches of light blue sky and natural sunlight struggle to pierce from behind.

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Chris Huen, Dog Allowed, 2013-14
\nEstimate: HK$300,000 - 500,000 (US$38,500 - 64,100)
\nLot 137, 20th Century & Contemporary Art & Design Day Sale, November 29

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Chris Huen

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Hong Kong-based Chris Huen’s works are observations of his own quotidian experiences, constellations of daily moments swiftly constructed to bring the domestic and surreal in one compelling partnership.

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Without prior sketching or under drawing, Huen deftly executes on large canvases with techniques borrowed from traditional ink paintings and abstract figuration. His works showcase an acute awareness of his surroundings, inspired by the people, activities and landscapes around his home and Yuen Long studio. Deliberately omitting details, the artist works intuitively to recall a fleeting or forgotten moment from a feeling or memory, developing dream-like images from organic and haphazard dabs of paint.

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Chen Fei, Two works: (i) Killer Series: The Audition; (ii) Killer Series: Phantom of the Opera, 2010
\nEstimate: HK$70,000 - 120,000 (US$9,000 - 15,400)
\nLot 157, 20th Century & Contemporary Art & Design Day Sale, November 29

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Chen Fei

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Based in Beijing, Chen Fei belongs to the generation of Chinese artists born after 1980, raised under the one-child policy and China’s tremendous economic growth. His work is largely influenced by pop culture, especially manga and anime. His film background is reflected in his paintings, which resemble movie stills.

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Chen’s paintings are often dark-humor fantasies situated in realism and surrealism all at once. His work is filled with political satire commenting on China’s cultural and economic development, and how it has impacted globalization. The artist often depicts himself within his paintings as a form of self-mockery and criticism.

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Recommended Reading

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In Demand: Artists to Watch in the Hong Kong Sales >

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The Female Gaze: 10 Women Artists in the Hong Kong Sales >

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\n","2021-11-13T07:13:00.000000Z","https://www.phillips.com/article/86120605/ultra-neo-hong-kong-fall-auction",1410,3692,86120605,"https://flockler.com/thumbs/sites/889/vr-cover-c110b99d-512d-486e-a1ef-bcd5fb7da692_s600x0.jpg","Join us for a virtual walkthrough of our 20th Century & Contemporary Art & Design auction previews at the JW Marriott Hotel in Hong Kong. On view: Gerhard Richter, Yayoi Kusama, George Condo, Yoshitomo Nara, Loie Hollowell and more.","VR Walkthrough: 20th Century & Contemporary Art & Design, Hong Kong","

Travel through our 20th Century & Contemporary Art & Design auction previews at the JW Marriott Hotel in Hong Kong, and browse highlights from our upcoming Evening and Day sales.

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Featuring sought-after works by Gerhard Richter, Yayoi Kusama, George Condo, Yoshitomo Nara, Loie Hollowell, Emily Mae Smith, Claude Monet, Auguste Rodin and more.

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4th Floor Gallery:

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Pantone Room:

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3rd Floor Gallery:

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Our 20th Century & Contemporary Art & Design Day Sale and 20th Century & Contemporary Art Evening Sale in association with Poly Auction will take place on 29-30 November at the JW Mariott Hotel in Hong Kong.

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\n","2021-11-26T06:11:03.000000Z","https://www.phillips.com/article/87382642/vr-walkthrough-20th-century-and-contemporary-art-and-design-hong-kong",1452,3745,87382642,{"_356":416,"_358":359},{"_356":415,"_358":359},{"_356":414,"_358":359},{"_356":413,"_358":359},{"_356":412,"_358":359},{"_356":411,"_358":359},{"_356":410,"_358":359},{"_356":409,"_358":359},{"_356":408,"_358":359},{"_356":407,"_358":359},{"_356":406,"_358":359},{"_356":405,"_358":359},{"_356":404,"_358":359},{"_356":403,"_358":359},{"_356":402,"_358":359},{"_356":401,"_358":359},{"_356":400,"_358":359},{"_356":399,"_358":359},{"_356":398,"_358":359},{"_356":397,"_358":359},{"_356":396,"_358":359},{"_356":395,"_358":359},{"_356":394,"_358":359},{"_356":393,"_358":359},{"_356":392,"_358":359},{"_356":391,"_358":359},{"_356":390,"_358":359},{"_356":389,"_358":359},{"_356":388,"_358":359},{"_356":387,"_358":359},{"_356":386,"_358":359},{"_356":385,"_358":359},{"_356":384,"_358":359},{"_356":383,"_358":359},{"_356":382,"_358":359},{"_356":381,"_358":359},{"_356":380,"_358":359},{"_356":379,"_358":359},{"_356":378,"_358":359},{"_356":377,"_358":359},{"_356":376,"_358":359},{"_356":375,"_358":359},{"_356":374,"_358":359},{"_356":373,"_358":359},{"_356":372,"_358":359},{"_356":369,"_358":359,"_364":370,"_366":371},{"_356":58,"_358":359,"_364":368,"_366":76},{"_356":363,"_358":359,"_364":365,"_366":367},{"_356":362,"_358":359},{"_356":361,"_358":359},{"_356":360,"_358":359},{"_356":357,"_358":359},"objectNumber","160521","lotType","AuctionLot","162370","160349","159704","162892","lotNumberFull","54","makerName","Godwin Champs Namuyimba","53","162737","52","Mickalene Thomas","161310","162347","159238","161739","160113","160629","162874","160208","160217","160223","160212","160214","161634","160213","161635","158452","160855","162344","162571","158636","161758","157287","160218","160215","160685","160721","160207","159706","162052","162565","162271","162568","160209","162468","162888","159741","162672","159709","159814","162566","162671","162670","162669","162567","159505","lotNumber",53,"estimate",{"_479":480,"_481":482},"detailLink","https://www.phillips.com/detail/billie-zangewa/162602","lotStatus","Sold","parentAuctionStatus","parentAuctionType","auctionMobilityLotRowId","1-57OFW9","makerId",17517,"executedBidCount","currentlyEligibleForBids","priorityBiddingEnabled","reserveMet","startBidAmount",280000,"soldPrice",567000,"isNoReserve","is360View","isNoLot","showSoldLabel","isPremiumLot","artistNationality","Malawian","dimensions","150.9 x 135.9 cm. (59 3/8 x 53 1/2 in.)","medium","embroidered silk","sigEdtMan","Executed in 2007.","provenance","MAGNIN-A, Paris\r\nPrivate Collection, London (acquired from the above)\r\nAcquired from the above by the present owner","exhibited","Oslo, Astrup Fearnley Museet, Alpha Crucis – Contemporary African Art, 31 January - 6 September 2020, p. 221 (illustrated)","mainImagePath","https://dist.phillips.com/auction-assets/HK010321/162602_001.jpg","enhancedLotComponents",[464],"conditionReport","This work is in very good condition. This work is framed under glass in a white painted wood frame. Please note that this work has not been checked outside of its frame.",{"_158":72,"_159":160},"additionalImagePaths",{"_465":124,"_466":467,"_468":469,"_16":470,"_471":472},"isActive","componentType","RichText","componentId",6606,"DETAIL-HEADER-DISABLED 7382","componentItems",[473],{"_465":124,"_474":475,"_476":477,"_478":-7},"componentItemId",9651,"htmlCaption","

“The act of stitching, for me, is incredibly powerful, in a way that’s not obvious”
\n— Billie Zangewa

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Malawi-born and Johannesburg-based artist Billie Zangewa’s silk tapestries quite literally tug at their viewers’ heart strings, depicting familiar scenes of quotidian life, glimpses into motherhood, and intimate snippets of romance. This autumn alone, the artist will be the subject of various shows, including at the Museum of the African Diaspora in San Francisco, in which her works will be featured in the aptly named Thread for a Web Begun. With mounting critical attention for her pieces, including being collected by the Centre Pompidou in Paris and having recently been exhibited at the Musée d’art Moderne, Zangewa joins a growing group of artists of colour and young female artists alike who are taking the art world by storm.

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\"\" — \n
\nAn early photograph of the artist in front of *Cirque d’hiver*, next to a detail of the piece

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“I use fabrics for different reasons. Firstly, I am obsessed with texture; rich, textured surfaces, and I think silk is the ultimate rich textured surface, because it’s so nuanced, and the way it reflects and absorbs light is very complex”
\n— Billie Zangewa

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\"Alpha — \n
\nThe present work exhibited in *Alpha Crucis – Contemporary African Art,* Astrup Fearnley Museet, Oslo, 30 January – 5 September 2020
\nCourtesy the artist and Lehmann Maupin, New York, Hong Kong, and Seoul.

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Zangewa began her career in fashion and advertising, to which her interest in textile can no doubt be attributed. To the artist, employing textile injects a certain sense of utilitarianism into her art form and subject matter: ‘Working with textile also speaks to universality, because we all have an experience with textile…it’s part of the human experience.’ ⁱ In particular to her choice of silk—a medium she stumbled upon by chance having accompanied a friend who was sourcing fabrics ⁱⁱ—Zangewa has in the past commented on its ‘incredibly seductive, sumptuous and generous’ qualityⁱⁱⁱ. Her affinity for sewing however can be traced to memories of her mother’s sewing group: women who would regularly congregate to sew, all the while commiserating, gossiping, and exchanging daily anecdotes. For the artist, the sewing group was a coterie closed off to men; a meditative and safe space where a sense of quiet feminine strength could take hold. Through her art, she aims to access ‘that empowered space of calm’, ^iv creating beautiful, intricate works that aim to transform her personal stories into pieces of art.

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Weaving Stories

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To understand Zangewa’s painstakingly created works is to enter a delicate web that is all at once autobiographical, anecdotal, apocryphal—the sources from which she draws when creating her silk tapestries are variegated and complex, and aim to dismantle social paradigms. Primarily, as the artist has noted in the past, her works deal with identity—her own personal one—but she also tackles socio-politics, gender, motherhood, sexuality, individuality, and the notions surrounding being a person of colour.

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\"\" — \n
\nLeft: Billie Zangewa, *Christmas at the Ritz*, 2006
\nCourtesy the artist and Lehmann Maupin, New York, Hong Kong, and Seoul.
\nRight: Billie Zangewa, *City of Light*, 2005
\nCourtesy the artist and Lehmann Maupin, New York, Hong Kong, and Seoul.

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Exquisitely rendered on vibrant mauve silk, Cirque d’hiver depicts a scene from the titular Winter Circus, a prominent venue in Paris for circus troupes, exhibitions, concerts, and other events since the mid 19^th Century (also known as Cirque d’hiver Bouglione since its acquisition in the thirties). Perhaps drawn in having followed in the fashion-footsteps of Richard Avedon, who in the fifties photographed the model Dovima posing amongst elephants at the Cirque d’hiver donning a Dior Evening gown; not to mention the fact that there was indeed a Paris Haute Couture Fashion Week event which took place at the very location in 2007 (the same year Cirque d’hiver was executed), Zangewa’s rendition of the circus shares layered meanings. To the top right corner of the work is a jagged shape resembling a circus dome with lights, not unlike depictions of the sun in the corner of children’s drawings. Trapeze acrobats, tightrope-walkers, a balancing act, and an animal ring populate the work as an audience looks on along the bottom edge of the work. Around the animal ring stands several ring masters; a pair of them are in conversation, and above their heads hover speech bubbles: ‘Blague, Blah, Blah.’, ‘Ha, ha, ha!’

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Beyond Silk

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The artist’s early pieces captured cityscapes and city-living, often drawing from fashion photographs, or memories in cities she lived in like London and Paris: some such examples include City of Light (2005), showing a cluster of street-goers or perhaps tourists pointing up at a sequined ‘PARIS’, and Christmas at the Ritz (2006), a vibrant yellow piece portraying a dreamscape in which Zangewa reclines in the famed hotel. While similar, Cirque d’hiver is much more than the undoubted collage of urban memories and fashion footnotes.

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One such clue to the significance of the circus and its theatricality perhaps lies in a work exhibited alongside Cirque d’hiver at the Astrup Fearnley Museet in Oslo in 2020. Rebirth of the Black Venus (2010), a formidable Botticellian self-portrait showing the artist nude but for a sash written with the words ‘Surrender whole-heartedly to your complexity’ wrapped around her body, referenced the tragic story of Sarah Baartman, otherwise known as ‘The Black Venus’. ‘Sarah Baartman’, the name given to at least two Khoikhoi women living in the late eighteenth and early nineteenth centuries, were women bought as slaves and paraded around Europe, exhibited as freakshow specimens including at Picadilly Circus. Thinly veiled as ‘scientific research’, their tragic stories of exploitation and racism were only rediscovered in the early 2000s, and Zangewa’s powerful reclaiming of this story, both in terms of a person of colour, an African, and above all a woman, is significant. To read Cirque d’hiver in such a way is to appreciate the importance of the artist’s reclamation of power.

\n\n

\"\" — \n
\nLeft: *La Belle Hottentote*, a 19th-century French print of Sarah Baartman
\nRight: Billie Zangewa, *The Rebirth of Black Venus*,
\n2010 Collection Gervanne and Matthias Leridon
\nCourtesy the artist and Lehmann Maupin, New York, Hong Kong, and Seoul.

\n\n

Zangewa’s practice joins a long lineage of female artists who have turned to tapestry, weaving, sewing, and fabrics as vehicles through which to confront issues such as the liminal separations of art/craft, femininity, gender roles, and power dynamics. Her work is at once a departure from, and a confluence of, 20th Century artists such as Louise Bourgeois (whose sewing equated to emotional restoration of traumas), and Rosemarie Trockel (who confronted the patriarchal hold over the art world with a deliberate choice of material evocative of womanly housework), as well as twenty-first century artists such as Tschabalala Self (whose collaged fabrics are extended metaphors for the accumulation of feelings and ideas), and Chiharu Shiota (whose choice of yarn speaks to the themes of interconnection).

\n\n

Having combatted the prejudice against being female and told to downplay this aspect of herself, as well as the derogatory way her sewing was initially perceived, the artist seeks to elevate her textile work by way of celebrating women and their plights, to ‘disrupt the patriarchal conditioning of the mind’^v.

\n\n

The artist interviewed on occasion of Alpha Crucis, an exhibition in which the present work was shown.

\n\n

Collector’s Digest

\n\n

Zangewa’s practice almost exclusively involves the creation of elaborate collages hand-sewn onto fragments of raw silk. Having begun her career in fashion and advertising, the artist seeks to disrupt the stereotype of the Black female form through her detailed silk tapestries, drawing predominantly from personal memories. Zangewa will be the subject of various solo exhibitions including at the Museum of the African Diasphora and a dual-exhibition presented by Lehmann Maupin London and Seoul. Her works are also in several notable institutional collections including the Centre Pompidou in Paris and the Tate Modern, London.

\n\n

\"\" — \n
\nLeft: Billie Zengawa, *In My Solitude*, 2018, Collection of the Centre Pompidou, Paris
\nCourtesy the artist and Lehmann Maupin, New York, Hong Kong, and Seoul.
\n
\nRight: Billie Zengawa, *Date Night,* 2017, Displayed within the Tate Modern, London
\nCourtesy the artist and Lehmann Maupin, New York, Hong Kong, and Seoul.

\n\n

ⁱ The artist interviewed on the occasion of her participation in Alpha Crucis – Contemporary African Art, Astrup Fearnley Museet, Oslo, 30 January – 5 September 2020, online

\n\n

ⁱⁱThe artist in conversation with Rosalind Duguid, quoted in ‘Billie Zangewa on her Sociopolitical Silk Works’, The Elephant, 18 June 2018, online

\n\n

ⁱⁱⁱIbid.

\n\n

^ivThe artist interviewed on the occasion of her participation in Alpha Crucis – Contemporary African Art, Astrup Fearnley Museet, Oslo, 30 January – 5 September 2020, online

\n\n

^vThe artist interviewed by the Tate for TateShots, ‘Artist Billie Zangewa – the Ultimate Act of Resistance is Self Love’, February 2020, online

\n\n

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Claude Monet 克勞德·莫內

奧古斯特·羅丹, 《吻 (縮小版第一版)》, 1883年作\n估價 $10,000,000 - 15,000,000 港元\n拍品 27, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術晚間拍賣, 11月30日

Auguste Rodin 奧古斯特·羅丹

亞歷山大·考爾德, 《空中的兩片紅色花瓣》, 1958年作\n估價 16,000,000 - 20,000,000港元\n拍品 30, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術晚間拍賣, 11月30日

Alexander Calder 亞歷山大·考爾德

藤田嗣治, 《斜倚裸女》, 1931年作\n估價 12,000,000 - 18,000,000港元\n拍品 23, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術晚間拍賣, 11月30日

Léonard-Tsuguharu Foujita 藤田嗣治

藤田嗣治, 《與貓的自畫像》, 1931年作\n估價 4,000,000 - 6,000,000 港元\n拍品 22, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術晚間拍賣, 11月30日

Claude Monet

Auguste Rodin, Le Baiser, 1ère réduction dite aussi "réduction n°1"\nEstimate: HK$10,000,000 - 15,000,000 (US$1,280,000 - 1,920,000)\nLot 27, 20th Century & Contemporary Art Evening Sale, November 30

Auguste Rodin

Alexander Calder, Two Red Petals in the Air, 1958\nEstimate: HK$16,000,000 - 20,000,000 (US$2,050,000 - 2,560,000)\nLot 30, 20th Century & Contemporary Art Evening Sale, November 30

Alexander Calder

Léonard-Tsuguharu Foujita, Reclining Nude, 1931\nEstimate: HK$12,000,000 - 18,000,000 (US$1,540,000 - 2,310,000)\nLot 23, 20th Century & Contemporary Art Evening Sale, November 30

Léonard-Tsuguharu Foujita

Léonard-Tsuguharu Foujita, Self-Portrait with a Cat, 1931\nEstimate: HK$4,000,000 - 6,000,000 (US$513,000 - 769,000)\nLot 22, 20th Century & Contemporary Art Evening Sale, November 30

喬治·康多(George Condo)《被綁架的管家》,2011年作\n估價1,800,000 - 2,800,000 港元\n拍品168, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術和設計日間拍賣, 11月29日

George Condo 喬治·康多

奈良美智, 《潘多拉盒子》, 1990年作\n估價 7,500,000 - 10,000,000港元\n拍品42, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術晚間拍賣, 11月30日

Yoshitomo Nara 奈良美智

喬治·巴塞利茲, 《W.D.》, 2017年作\n估價3,000,000 - 5,000,000港元\n拍品190, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術和設計日間拍賣, 11月29日

Georg Baselitz 喬治·巴塞利茲

莎拉·休斯, 《魔幻島》, 2012年作\n估價1,500,000 - 2,500,000港元\n拍品12,富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術晚間拍賣, 11月30日

Shara Hughes 莎拉·休斯

赫南·巴斯, 《極簡主義 (解密)》, 2019年作\n估價1,000,000 - 1,500,000港元\n拍品10, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術晚間拍賣, 11月30日

Hernan Bas 赫南·巴斯

比莉·贊格瓦, 《冬季馬戲團》, 2007年作\n估價400,000 - 600,000港元\n拍品53, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術晚間拍賣, 11月30日

Billie Zangewa 比莉·贊格瓦

George Condo ,The Abducted Butler ,2011 \nEstimate HK$1,800,000 - 2,800,000 (US$231,000-359,000)\nLot 168,20th Century & Contemporary Art & Design Day Sale, November 29

George Condo

Yoshitomo Nara, Pandora’s Box, 1990\nEstimate: HK$7,500,000 - 10,000,000 (US$962,000 - 1,280,000)\nLot 42, 20th Century & Contemporary Art Evening Sale, November 30

Yoshitomo Nara

Georg Baselitz, W.D., 2017\nEstimate: HK$3,000,000 - 5,000,000 (US$385,000 - 641,000)\nLot 190, 20th Century & Contemporary Art & Design Day Sale, November 29

Georg Baselitz

Shara Hughes, Magic Island, 2012\nEstimate: HK$1,500,000 - 2,500,000 (US$192,000 - 321,000)\nLot 12, 20th Century & Contemporary Art Evening Sale, November 30

Shara Hughes

Hernan Bas, Minimalism (cracking the code), 2019\nEstimate: HK$1,000,000 - 1,500,000 (US$128,000 - 192,000)\nLot 10, 20th Century & Contemporary Art Evening Sale, November 30

Hernan Bas

Billie Zangewa, Cirque d'hiver, 2007\nEstimate: HK$400,000 - 600,000 (US$51,300 - 76,900)\nLot 53, 20th Century & Contemporary Art Evening Sale, November 30

Billie Zangewa

尼古拉斯·帕爾蒂

哈維爾·卡列哈 (Javier Calleja), 30件作品：《無題》, 2017年作\n估價: 3,000,000 - 5,000,000港元\n拍品 7, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術晚間拍賣, 11月30日

哈維爾‧卡列哈

劉野 (Liu Ye), 《無題》, 1993年作\n估價3,000,000 - 5,000,000港元\n拍品 39, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術晚間拍賣, 11月30日

劉野

羅伯特·納瓦 (Robert Nava), 《鯊魚天使》, 2020年作\n估價1,200,000 - 1,800,000港元\n拍品 49, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術晚間拍賣, 11月30日

羅伯特·納瓦

通吉·阿德尼伊-瓊斯 (Tunji Adeniyi-Jones), 《藍色祖宗》, 2019年作\n估價 400,000 - 600,000港元\n拍品 55, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術晚間拍賣, 11月30日

敦吉·阿德尼伊-瓊斯

辛格·桑松 (Cinga Samson), 《象牙5號》, 2018年作\n估價 250,000 - 350,000港元\n拍品 1, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術晚間拍賣, 11月30日

辛格·桑松

王俊傑 (Matthew Wong), 《遠望》, 2017年作\n估價 8,000,000 - 12,000,000港元\n拍品 15, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術晚間拍賣, 11月30日

王俊傑

Nicolas Party

Javier Calleja, 30 works: Untitled, 2017\nEstimate: HK$3,000,000 - 5,000,000 (US$385,000 - 641,000)\nLot 7, 20th Century & Contemporary Art Evening Sale, November 30

Javier Calleja

Liu Ye, Untitled, 1993\nEstimate: HK$3,000,000 - 5,000,000 (US$385,000 - 641,000)\nLot 39, 20th Century & Contemporary Art Evening Sale, November 30

Liu Ye

Robert Nava, Angel Shark, 2020\nEstimate: HK$1,200,000 - 1,800,000 (US$154,000 - 231,000)\nLot 49, 20th Century & Contemporary Art Evening Sale, November 30

Robert Nava

Tunji Adeniyi-Jones, Blue Ancestor, 2019\nEstimate: HK$400,000 - 600,000 (US$51,300 - 76,900)\nLot 55, 20th Century & Contemporary Art Evening Sale, November 30

Tunji Adeniyi-Jones

Cinga Samson, Ivory V, 2018\nEstimate: HK$250,000 - 350,000 (US$32,100 - 44,900)\nLot 1, 20th Century & Contemporary Art Evening Sale, November 30

Cinga Samson

Matthew Wong, Far Away Eyes, 2017\nEstimate: HK$8,000,000 - 12,000,000 (US$1,030,000 - 1,540,000)\nLot 15, 20th Century & Contemporary Art Evening Sale, November 30

Matthew Wong

米卡琳·托馬斯《往上看》(出自《她為錢賣命海報女郎系列》)

妮娜·香奈兒·阿布尼, 《無題 (IXI 黑色)》, 2015年作\n估價: 1,500,000 - 2,500,000港元\n拍品3, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術晚間拍賣, 11月30日

妮娜·香奈兒·阿布尼《無題 (IXI 黑色)》

賈黛·法多朱蒂米, 《足跡的探尋》, 2017年作\n估價: 1,200,000 - 2,200,000港元\n拍品51, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術晚間拍賣, 11月30日

賈黛·法多朱蒂米《足跡的探尋》

朱莉·柯蒂斯, 《橫向擁抱 II》, 2018年作\n估價: 1,200,000 - 1,800,000港元\n拍品102, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術和設計日間拍賣, 11月29日

朱莉·柯蒂斯《橫向擁抱 II》

洛伊·霍洛韋爾, 《舔舔：藍色、綠色、紅色》, 2015年作\n估價: 800,000 - 1,200,000港元\n拍品102, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術和設計日間拍賣, 11月29日

洛伊·霍洛韋爾《舔舔：藍色、綠色、紅色》

艾米莉·梅·史密斯, 《一千個日子》, 2017年作\n估價: 600,000 - 900,000港元\n拍品103, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術和設計日間拍賣, 11月29日

艾米莉·梅·史密斯《一千個日子》

珍尼維·菲吉斯, 《化妝間》, 2017年作\n估價: 600,000 - 900,000港元\n拍品112, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術和設計日間拍賣, 11月29日

珍尼維·菲吉斯《化妝間》

克裡絲汀·艾珠, 《歡迎獨白5號》, 2007年作\n估價: 500,000 - 700,000港元\n拍品206, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術和設計日間拍賣, 11月29日

奧古斯特·羅丹, 《吻 (縮小版第一版)》, 1883年作
\n估價 $10,000,000 - 15,000,000 港元
\n拍品 27, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術晚間拍賣, 11月30日

亞歷山大·考爾德, 《空中的兩片紅色花瓣》, 1958年作
\n估價 16,000,000 - 20,000,000港元
\n拍品 30, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術晚間拍賣, 11月30日

藤田嗣治, 《斜倚裸女》, 1931年作
\n估價 12,000,000 - 18,000,000港元
\n拍品 23, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術晚間拍賣, 11月30日

藤田嗣治, 《與貓的自畫像》, 1931年作
\n估價 4,000,000 - 6,000,000 港元
\n拍品 22, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術晚間拍賣, 11月30日

Auguste Rodin, Le Baiser, 1ère réduction dite aussi "réduction n°1"
\nEstimate: HK$10,000,000 - 15,000,000 (US$1,280,000 - 1,920,000)
\nLot 27, 20th Century & Contemporary Art Evening Sale, November 30

Alexander Calder, Two Red Petals in the Air, 1958
\nEstimate: HK$16,000,000 - 20,000,000 (US$2,050,000 - 2,560,000)
\nLot 30, 20th Century & Contemporary Art Evening Sale, November 30

Léonard-Tsuguharu Foujita, Reclining Nude, 1931
\nEstimate: HK$12,000,000 - 18,000,000 (US$1,540,000 - 2,310,000)
\nLot 23, 20th Century & Contemporary Art Evening Sale, November 30

Léonard-Tsuguharu Foujita, Self-Portrait with a Cat, 1931
\nEstimate: HK$4,000,000 - 6,000,000 (US$513,000 - 769,000)
\nLot 22, 20th Century & Contemporary Art Evening Sale, November 30

喬治·康多(George Condo)《被綁架的管家》,2011年作
\n估價1,800,000 - 2,800,000 港元
\n拍品168, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術和設計日間拍賣, 11月29日

奈良美智, 《潘多拉盒子》, 1990年作
\n估價 7,500,000 - 10,000,000港元
\n拍品42, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術晚間拍賣, 11月30日

喬治·巴塞利茲, 《W.D.》, 2017年作
\n估價3,000,000 - 5,000,000港元
\n拍品190, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術和設計日間拍賣, 11月29日

莎拉·休斯, 《魔幻島》, 2012年作
\n估價1,500,000 - 2,500,000港元
\n拍品12,富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術晚間拍賣, 11月30日

赫南·巴斯, 《極簡主義 (解密)》, 2019年作
\n估價1,000,000 - 1,500,000港元
\n拍品10, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術晚間拍賣, 11月30日

比莉·贊格瓦, 《冬季馬戲團》, 2007年作
\n估價400,000 - 600,000港元
\n拍品53, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術晚間拍賣, 11月30日

George Condo ,The Abducted Butler ,2011
\nEstimate HK$1,800,000 - 2,800,000 (US$231,000-359,000)
\nLot 168,20th Century & Contemporary Art & Design Day Sale, November 29

Yoshitomo Nara, Pandora’s Box, 1990
\nEstimate: HK$7,500,000 - 10,000,000 (US$962,000 - 1,280,000)
\nLot 42, 20th Century & Contemporary Art Evening Sale, November 30

Georg Baselitz, W.D., 2017
\nEstimate: HK$3,000,000 - 5,000,000 (US$385,000 - 641,000)
\nLot 190, 20th Century & Contemporary Art & Design Day Sale, November 29

Shara Hughes, Magic Island, 2012
\nEstimate: HK$1,500,000 - 2,500,000 (US$192,000 - 321,000)
\nLot 12, 20th Century & Contemporary Art Evening Sale, November 30

Hernan Bas, Minimalism (cracking the code), 2019
\nEstimate: HK$1,000,000 - 1,500,000 (US$128,000 - 192,000)
\nLot 10, 20th Century & Contemporary Art Evening Sale, November 30

Billie Zangewa, Cirque d'hiver, 2007
\nEstimate: HK$400,000 - 600,000 (US$51,300 - 76,900)
\nLot 53, 20th Century & Contemporary Art Evening Sale, November 30

哈維爾·卡列哈 (Javier Calleja), 30件作品：《無題》, 2017年作
\n估價: 3,000,000 - 5,000,000港元
\n拍品 7, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術晚間拍賣, 11月30日

劉野 (Liu Ye), 《無題》, 1993年作
\n估價3,000,000 - 5,000,000港元
\n拍品 39, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術晚間拍賣, 11月30日

羅伯特·納瓦 (Robert Nava), 《鯊魚天使》, 2020年作
\n估價1,200,000 - 1,800,000港元
\n拍品 49, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術晚間拍賣, 11月30日

通吉·阿德尼伊-瓊斯 (Tunji Adeniyi-Jones), 《藍色祖宗》, 2019年作
\n估價 400,000 - 600,000港元
\n拍品 55, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術晚間拍賣, 11月30日

辛格·桑松 (Cinga Samson), 《象牙5號》, 2018年作
\n估價 250,000 - 350,000港元
\n拍品 1, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術晚間拍賣, 11月30日

王俊傑 (Matthew Wong), 《遠望》, 2017年作
\n估價 8,000,000 - 12,000,000港元
\n拍品 15, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術晚間拍賣, 11月30日

Javier Calleja, 30 works: Untitled, 2017
\nEstimate: HK$3,000,000 - 5,000,000 (US$385,000 - 641,000)
\nLot 7, 20th Century & Contemporary Art Evening Sale, November 30

Liu Ye, Untitled, 1993
\nEstimate: HK$3,000,000 - 5,000,000 (US$385,000 - 641,000)
\nLot 39, 20th Century & Contemporary Art Evening Sale, November 30

Robert Nava, Angel Shark, 2020
\nEstimate: HK$1,200,000 - 1,800,000 (US$154,000 - 231,000)
\nLot 49, 20th Century & Contemporary Art Evening Sale, November 30

Tunji Adeniyi-Jones, Blue Ancestor, 2019
\nEstimate: HK$400,000 - 600,000 (US$51,300 - 76,900)
\nLot 55, 20th Century & Contemporary Art Evening Sale, November 30

Cinga Samson, Ivory V, 2018
\nEstimate: HK$250,000 - 350,000 (US$32,100 - 44,900)
\nLot 1, 20th Century & Contemporary Art Evening Sale, November 30

Matthew Wong, Far Away Eyes, 2017
\nEstimate: HK$8,000,000 - 12,000,000 (US$1,030,000 - 1,540,000)
\nLot 15, 20th Century & Contemporary Art Evening Sale, November 30

妮娜·香奈兒·阿布尼, 《無題 (IXI 黑色)》, 2015年作
\n估價: 1,500,000 - 2,500,000港元
\n拍品3, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術晚間拍賣, 11月30日

賈黛·法多朱蒂米, 《足跡的探尋》, 2017年作
\n估價: 1,200,000 - 2,200,000港元
\n拍品51, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術晚間拍賣, 11月30日

朱莉·柯蒂斯, 《橫向擁抱 II》, 2018年作
\n估價: 1,200,000 - 1,800,000港元
\n拍品102, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術和設計日間拍賣, 11月29日

洛伊·霍洛韋爾, 《舔舔：藍色、綠色、紅色》, 2015年作
\n估價: 800,000 - 1,200,000港元
\n拍品102, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術和設計日間拍賣, 11月29日

艾米莉·梅·史密斯, 《一千個日子》, 2017年作
\n估價: 600,000 - 900,000港元
\n拍品103, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術和設計日間拍賣, 11月29日

珍尼維·菲吉斯, 《化妝間》, 2017年作
\n估價: 600,000 - 900,000港元
\n拍品112, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術和設計日間拍賣, 11月29日

克裡絲汀·艾珠, 《歡迎獨白5號》, 2007年作
\n估價: 500,000 - 700,000港元
\n拍品206, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術和設計日間拍賣, 11月29日

克萊爾·特伯萊, 《亡魂》, 2015年作
\n估價: 400,000 - 600,000港元
\n拍品109, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術和設計日間拍賣, 11月29日

希拉里·佩西斯, 《比佛利》, 2017年作
\n估價: 200,000 - 300,000港元
\n拍品104, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術和設計日間拍賣, 11月29日

莎拉·休斯 (Shara Hughes)《法定監護人》，2004年作
\n估價: 800,000 - 1,200,000港元
\n拍品106, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術和設計日間拍賣, 11月29日

**Mickalene Thomas, Looking Up (From the She Works Hard for the Money Pin-Up Series)**

Nina Chanel Abney, Untitled (IXI Black), 2015
\nEstimate: HK$1,500,000 - 2,500,000 (US$192,000 - 321,000)
\nLot 3, 20th Century & Contemporary Art Evening Sale, November 30

Jadé Fadojutimi, Fishing for Steps, 2017
\nEstimate: HK$1,200,000 - 2,200,000 (US$154,000 - 282,000)
\nLot 51, 20th Century & Contemporary Art Evening Sale, November 30

Julie Curtiss, Lateral Embrace II, 2018
\nEstimate: HK$1,200,000 - 1,800,000 (US$154,000 - 231,000)
\nLot 102, 20th Century & Contemporary Art & Design Day Sale, November 29

Loie Hollowell, Lick Lick in Blue, Green and Red, 2015
\nEstimate: HK$800,000 - 1,200,000 (US$103,000 - 154,000)
\nLot 102, 20th Century & Contemporary Art & Design Day Sale, November 29

Emily Mae Smith, A Thousand Days, 2017
\nEstimate: HK$600,000 - 900,000 (US$76,900 - 115,000)
\nLot 103, 20th Century & Contemporary Art & Design Day Sale, November 29

Genieve Figgis, The Powder Room, 2017
\nEstimate: HK$600,000 - 900,000 (US$76,900 - 115,000)
\nLot 112, 20th Century & Contemporary Art & Design Day Sale, November 29

Christine Ay Tjoe, Welcome Monolog #5, 2007
\nEstimate: HK$500,000 - 700,000 (US$64,100 - 89,700)
\nLot 206, 20th Century & Contemporary Art & Design Day Sale, November 29

Claire Tabouret, La Revenante (The Female Revenant), 2015
\nEstimate: HK$400,000 - 600,000 (US$51,300 - 76,900)
\nLot 109, 20th Century & Contemporary Art & Design Day Sale, November 29

Hilary Pecis, Beverly, 2017
\nEstimate: HK$200,000 - 300,000 (US$25,600 - 38,500)
\nLot 104, 20th Century & Contemporary Art & Design Day Sale, November 29

Shara Hughes,Legal Guardian,2004
\nEstimate: HK$800,000 - 1,200,000(US$103,000-154,000)
\nLot 106,20th Century & Contemporary Art & Design Day Sale, November 29

加藤泉 (Izumi Kato), 《無題》2008年作
\n估價4,500,000 - 7,500,000港元
\n拍品 41, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術晚間拍賣, 11月30日

上條晋 (Susumu Kamijo), 《往太陽前進》, 2020年作
\n估價 450,000 - 650,000 港元
\n拍品 50, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術晚間拍賣, 11月30日

加賀温, 《即使月亮被雲朵遮蓋，我們依然在這裏（在封鎖期間）（繼薩金特）》, 2020年作
\n估價 200,000 - 300,000港元
\n拍品 136, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術和設計日間拍賣, 11月29日

松山智一 (Tomokazu Matsuyama),《歐米茄夫人》, 2020年作
\n估價 200,000 - 300,000港元
\n拍品146, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術和設計日間拍賣, 11月29日

井田幸昌 (Yukimasa Ida), 《頭》, 2019年作
\n估價 240,000 - 420,000港元
\n拍品158, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術和設計日間拍賣, 11月29日

六角彩子 (Ayako Rokkaku), 《無題 ARP 07-013》, 2007年作
\n估價 2,000,000 - 3,000,000港元
\n拍品139, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術和設計日間拍賣, 11月29日

黃宇興 (Huang Yuxing), 《浮沉的氣泡》, 2014年作
\n估價 1,800,000 - 2,800,000港元
\n拍品34, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術晚間拍賣, 11月30日

趙趙 (Zhao Zhao), 《天空2號》, 2013-14年作
\n估價100,000 - 200,000 港元
\n拍品133, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術和設計日間拍賣, 11月29日

禤善勤 (Chris Huen), 《狗狗請進》, 2013-14年作
\n估價300,000 - 500,000港元
\n拍品137, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術和設計日間拍賣, 11月29日

陳飛 (Chen Fei), 兩件作品：(i)《殺人者系列：切膚之愛》; (ii)《殺人者系列：歌劇魅影》, 2010年作
\n估價 70,000 - 120,000港元
\n拍品157, 富藝斯與保利拍賣聯合呈獻二十世紀及當代藝術和設計日間拍賣, 11月29日

Izumi Kato, Untitled, 2008
\nEstimate: HK$4,500,000 - 7,500,000 (US$577,000 - 962,000)
\nLot 41, 20th Century & Contemporary Art Evening Sale, November 30

Susumu Kamijo, Marching to the Sun, 2020
\nEstimate: HK$450,000 - 650,000 (US$57,700 - 83,300)
\nLot 50, 20th Century & Contemporary Art Evening Sale, November 30

Atsushi Kaga, We Are Still Here Even Though the Moon Is Clouded (During the Lockdown) (After Sargent), 2020
\nEstimate: HK$200,000 - 300,000 (US$25,600 - 38,500)
\nLot 136, 20th Century & Contemporary Art & Design Day Sale, November 29

Tomokazu Matsuyama, Mrs. Omega, 2020
\nEstimate: HK$200,000 - 300,000 (US$25,600 - 38,500)
\nLot 146, 20th Century & Contemporary Art & Design Day Sale, November 29

Yukimasa Ida, A Head, 2019
\nEstimate: HK$240,000 - 420,000 (US$30,800 - 53,800)
\nLot 158, 20th Century & Contemporary Art & Design Day Sale, November 29

Ayako Rokkaku, Untitled ARP 07-013, 2007
\nEstimate: HK$2,000,000 - 3,000,000 (US$256,000 - 385,000)
\nLot 139, 20th Century & Contemporary Art & Design Day Sale, November 29

Huang Yuxing, Floating Bubbles, 2014
\nEstimate: HK$1,800,000 - 2,800,000 (US$231,000 - 359,000)
\nLot 34, 20th Century & Contemporary Art Evening Sale, November 30

Zhao Zhao, Sky No. 2, 2013-14
\nEstimate: HK$100,000 - 200,000 (US$12,800 - 25,600)
\nLot 133, 20th Century & Contemporary Art & Design Day Sale, November 29

Chris Huen, Dog Allowed, 2013-14
\nEstimate: HK$300,000 - 500,000 (US$38,500 - 64,100)
\nLot 137, 20th Century & Contemporary Art & Design Day Sale, November 29

Chen Fei, Two works: (i) Killer Series: The Audition; (ii) Killer Series: Phantom of the Opera, 2010
\nEstimate: HK$70,000 - 120,000 (US$9,000 - 15,400)
\nLot 157, 20th Century & Contemporary Art & Design Day Sale, November 29

53

Billie Zangewa

Cirque d'hiver

Further Details

Full-Cataloguing

Billie Zangewa