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Please note, effective from 1st March 2023, Phillips’ Buyer’s Premium rates have been adjusted. The new rates can be viewed on the Buyer’s Premium page and apply to this auction.
\n

\n\n

\n","auctionDetailsSmall","Hong Kong Auction 30 March 2023","extraInfo","

Charlotte Raybaud
\nSpecialist, Head of Evening Sale
\n+852 2318 2026
\nCharlotteRaybaud@phillips.com

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\n\n

《尋找寶藏》是藝術界現象級人物奈良美智筆下獨一無二的作品，畫中女主角擁有圓滾滾的臉頰，眼神銳利，櫻桃紅的小嘴卻似笑非笑地向觀眾流露出調皮又自信的神情，身著金黃連衣裙、與她的寶石藍眸子一併散發著熠熠活力，展現了奈良作品中人氣最高的特徵。

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奈良美智《尋找寶藏》， 1995年作
\n估價待詢
\n二十世紀及當代藝術晚間拍賣, 3月30日

\n\n

\n奈良美智旅居德國時期所創作的作品備受追捧，《尋找寶藏》正是在德國這一重要時期創作。隨著他繪畫技巧的日益精進，藝術家的作品逐漸脫離了鮮豔的色調和粗糙的輪廓，從此奠定了他標誌性的風格。這件作品的主人公手握占卜杖，而占卜杖探測正是起源於德國，當時用來探測金屬，隨著歷史的演變，出現許多不同利用此工具之從業人士與思想流派。奈良美智在這時期創作的其他作品也有為畫中女孩配上占卜杖，似乎在思索「探礦」與自然界的聯繫及超自然的神秘占卜之面。長棍狀的占卜杖也有暗示畫筆之意，說明其筆下的小女孩實為內心的自畫像，反映他在德國創作的歲月裡尋找自身藝術發展的「寶藏」。

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此件珍罕畫布作品屬於藝術家於同年創作的四件描繪身著金黃連衣裙女孩、搭配淺藍背景的畫作之一。這四件作品的其中一幅已被日本德島現代美術館納入永久館藏，而另外兩件作品從未現身拍賣市場。1995年是奈良美智創作生涯中極重要的一年，除了其第一本繪畫作品集出版，他在這一年開始由Blum & Poe畫廊代理，並於日本東京著名的澡堂畫廊舉辦極具突破性的個展《很深很深的水坑》。這些重要的事件將奈良美智推至國際舞台，也讓他逐漸奠定其最受推崇在世日本藝術家的重要地位。
\n

\n","publishDate","2023-03-23T03:15:33.000000Z","authorCredit","Veronica Chow","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/118213968/yoshitomo-nara-lookin-for-a-treasure-hong-kong-march-2023-zh","displayOrder",8,"auctionEditorialID",1765,"editorialID",4153,"flocklerID",118213968,"https://flockler.com/thumbs/sites/889/screenshot-2023-03-22-at-2-30-45-pm-b9b57cef-0d44-4d03-85f2-8fed2c44c323_s600x0.png","On 30 March, Yoshitomo Nara’s seminal Lookin' for a Treasure, 1995, will be offered as a star lot of Phillips’ inaugural 20th Century & Contemporary Art Evening Sale at its new saleroom in Hong Kong’s West Kowloon Cultural District. The work is among the rarest works on canvas by the artist to come to auction. ","Yoshitomo Nara: Lookin' for a Treasure | Hong Kong | March 2023 (video)","

\n\n

\nIn Looking for Treasure, the composition boasts the perfect amalgamation of traits that are iconic to Yoshitomo Nara: a large-headed child with pudgy cheeks and narrowed, down-turned eyes, who wears a wide-hemmed dress and has rounded limbs. The protagonist featured in the work wears golden-yellow, a rare yet highly sought-after characteristic in Nara’s oeuvre.

\n\n

\n\n

Yoshitomo Nara, Lookin' for a Treasure, 1995
\nEstimate on Request
\n20th Century & Contemporary Art Evening Sale, 30 March

\n\n

\nThis was painted during his pivotal years in Germany that he departed from vibrant tones and harsh outlines as his painterly technique refined.
\n
\nThe Nara heroine holds a set of dowsing tools in her hands. Nara explored this motif in other works created around the same time, and it seems he was thinking about both ‘dowsing’ ideas - its connection to the natural world and the supernatural side to it as well. At the same time, the long stick-like tools also somewhat resemble paintbrushes. This interpretation alludes to the Nara girl being a self-portrait of the artist himself, searching for ‘treasure’ in the development of his art during his years in Germany.
\n
\nThe work is among the rarest works on canvas by the artist to come to auction. It belongs to a small series of only four canvases Nara painted in 1995 featuring a golden-yellow dressed girl against a pale blue background. One of such paintings has been acquired by the Tokushima Modern Art Museum for its permanent collection, while the other two paintings have not been offered before at auction. 1995 was a particularly momentous year for Yoshitomo Nara, marked especially by the publication of his first ever book of paintings, new representation with Blum & Poe Gallery, and a breakthrough solo show at SCAI the Bathhouse in Tokyo which propelled him to international prominence.
\n
\nPhillips’ new Asia headquarters in Hong Kong’s West Kowloon Cultural District, which spans over 52,000 square feet across a total of six floors, will open for business in phases beginning on 18 March. Lookin' for a Treasure will star in the Spring Sales of 20th Century & Contemporary Art on 30-31 March, alongside other important works, including the recently announced highlights - Yayoi Kusama’s Pumpkin sold to benefit the Clarinda Carnegie Art Museum, Iowa, United States, and a rare and magnificent triptych work.

\n","2023-03-22T07:11:38.000000Z","Nicole Cheung","https://www.phillips.com/article/118117069/yoshitomo-nara-lookin-for-a-treasure-hong-kong-march-2023",7,1764,4151,118117069,"https://flockler.com/thumbs/sites/889/184841_atd_uc777868-1-6edfc110-0983-4571-a71b-95b92806017b_s600x0.jpg","二十世紀及當代藝術晚間拍賣備受矚目的奈良美智鉅作《尋找寶藏》。","金黃視野：奈良美智的奇幻世界","

奈良美智, 《尋找寶藏》，1995年作
\n估價待詢
\n二十世紀及當代藝術晚間拍賣, 3月30日

\n\n

奈良美智的創作往往令人回味無窮，在藝術界掀起了一場平靜的風暴。

\n\n

他的「奈良少女」是混亂和純真的化身，展示一種孩子獨有的驚奇感，表達了對快樂和自由的普世渴望。一顆大腦袋配上圓滾滾的臉頰，而雙眼呈jellybean軟糖型，瞇起來依然炯炯有神；臉上的櫻桃紅的小嘴，似笑非笑地向觀者流露出調皮又自信的神情。

\n\n

《尋找寶藏》從上至下展現了奈良獨一無二的風格。畫中主角身著金黃連衣裙，站在淺藍色的背景前，帶出一種俏皮玩味。作品召喚觀者踏上探索之旅，與少女一起尋寶。

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《尋找寶藏》是最罕見的奈良作品之一，出自1995年創作的僅含四幅油畫的極小型系列。系列中，所有少女主角身穿金色蓬蓬裙，站在淺藍色的背景前。其中一件同系列作品已被德島現代美術館納入永久館藏，而另外兩件作品則從未在拍賣市場出現。這件焦點拍品有望在富藝斯二十世紀及當代藝術晚間拍賣中高價成交。

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1995年藝術覺醒：奈良美智的轉捩點

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1995 年標誌著奈良美智職業生涯的一個重要轉捩點。這是突破性的一年，也是充滿新開始和重大發現的一年，造就了他未來幾年的創作願景。

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當年，藝術家出版了首部圖冊，讓普羅大眾一窺奈良的創作過程，揭示了一個既有趣又淒美，時而純真，時而顛覆的世界。圖冊確立了他在當代藝術領域的先鋒地位，並以獨特風格和奇趣角色啟發和吸引觀者。

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同年，著名畫廊Blum & Poe 成為奈良的代理，並為他在洛杉磯舉辦個展，令他躍升至國際藝術舞台，向全新受眾展示他的作品及才華。

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然而，真正奠定其藝術地位的里程碑要數到同年在東京澡堂畫廊（SCAI the Bathhouse）舉辦的突破性個展《最深的泥坑中》。這次展覽不僅代表著奈良藝術生涯的轉捩點，也鞏固了他作為當代藝術領軍人物的聲譽，蜚聲國際。

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與此同時，《尋找寶藏》亦在這一關鍵年間誕生。作品薈萃奈良美智藝術視野的精髓，也瀰漫著奇妙神秘的感覺，而這種觀感至今仍然引人入勝。

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奈良的音樂世界

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《尋找寶藏》創作於 1995 年，他在德國科隆生活的時期。工作室成為了奈良美智世界的中心，在夜晚寧靜的黑暗中，他一邊聽著從揚聲器傳出的龐克、搖滾和民謠旋律一邊工作。在這幾面牆之間，奈良美智度過了極為高產的一段時間並創作了一些最受稱譽的作品，他記錄下自身獨特的內省情緒，將內心深處的孤獨與熱望完美地轉化到畫布上。如著名策展人東谷隆司說道: 「搖滾音樂家可以根據演奏的節拍或扭曲的吉他聲與聽眾實時分享精神上的衝動。同樣，奈良美智在使用材料繪製簡單的圖像時，通過內在自我實現了一些東西。材料就是他的吉他，而圖像就是他的旋律，他的節拍。」

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黃色的魅力

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《尋找寶藏》的奈良少女站在淺藍色的背景前，身著金黃連衣裙，與她的寶石藍眸子一併散發著熠熠活力。

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奈良美智，《尋找寶藏》》，1995年作（局部）
\n估價待詢
\n二十世紀及當代藝術晚間拍賣， 3月30日

\n\n

奈良美智筆下的黃裙女主人遠比紅色、藍色衣著的角色更為少見：2000年以前的畫作中只有20幅描繪了黃衣女孩，藍衣則有50多幅、紅衣多達 80 幅以上。不過，芸芸最高價成交的奈良作品之中，有五分之三的拍品主人公身著黃衣或黃紅色衣物，說明這一特徵特別炙手可熱。

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也許這與金黃色所象徵的吉祥、神聖意義有關，黃色在中國文化中被認為是皇家專用色彩，專屬於皇帝，代表著權力、尊貴與繁榮。在日本，黃色被認為是大自然和陽光的顏色，而在西方文化中則象徵著歡愉與樂觀。此外，金色還有許多不同含義，通常關於慷慨和同情，在包括文藝復興藝術在內的不少宗教語境中是神性與地位的代名詞。

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神祕境界：藝術家的靈性進化

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使得這位奈良少女如此突出之處當然不只局限於裙子的顏色。

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如果將「黃金少女」示為集體，我們可以作出如下假設：在這批藝術品的創作時期，定義世界的基本元素包括：地球、空氣、水和靈性，而奈良美智對此尤感興趣。《無題（破碎的寶物）》的畫中人手握植物，這也許代表地球；《我在空中搖曳》則指涉了大氣層；而《小步行走》的中性面貌小孩手持一根釣魚竿，和水相關。從這個角度而言，《尋找寶藏》中的主人公參與尋寶活動，可以指涉神秘主義、魔法及超凡脫俗之靈物。

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奈良美智,《無題（破碎的寶物）》,1995年作
\n壓克力畫布 150 x 150 公分
\n德島現代美術館納入永久收藏
\nArtwork: © Yoshitomo Nara

\n\n

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奈良美智，《尋找寶藏》，1995年作
\n壓克力畫布, 120 x 110 公分
\n是次拍品

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奈良美智留德時期大大改變了其繪畫風格，並捨棄了早期的粗黑輪廓和鮮明用色。這段時期的蜕化使他精煉個人繪畫技巧，並且探索全新表現形式。《尋找寶藏》反映上述演變，畫中柔和色調和精緻筆觸呈現了藝術家對於光、影和人類情感的敏感度，而這種敏感度此前從未出現。

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畫中奈良少女拿著的一對探測叉看似畫筆，暗示主角其實是個人寫照，刻畫自己在旅居德國期間於藝術進程中尋寶。

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此外，作品標題指的是畫中主角指向前方的一對L形探測叉，捕捉女孩誠心探測的冒險精神。

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探測術是一種占卜活動，在德國擁有悠久多樣的歷史，多年來出現了許多不同占卜師與思想流派，而奈良美智很有可能是在歐洲期間首次接觸這種活動。探測術的相關理論認為，叉形棒或叉子能對水、礦物或其它隱藏寶藏的微妙振動或能量場作出反應，將占卜師引向其藏身之地。

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奈良之旅：靜水蕩漾

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《尋找寶藏》的命題是對奈良美智自身旅程的有力隱喻，而拍品的創作時期正處於藝術家在國際藝壇成功在望的邊緣。他在戰後弘前幾乎與世隔絕的童年生涯塑造其個人身份：因雙親都要工作，奈良美智在很大程度上只能孤身一人打發時間。他的足跡遍歷東京武藏野藝術大學、名古屋附近的愛知縣立美術大學、後來留學德國，乃至其深愛的音樂。

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同時，奈良美智迷戀不同亞文化，以及熱衷參與社區活動。以上每段重要體驗均微妙地糅合在奈良美智編織自我意識的過程之中，並在藝術領域建立真正的傑作。

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時至今日，奈良美智的作品備受全球藏家青睞。他的迷人世界觀亦在各大藝術機構中展示，包括：洛杉磯當代美術館、紐約亞洲協會美術館、東京國立近代美術館等；其中洛杉磯縣立美術館的2019年個人回顧展被譽為巔峰之作，也是藝術家職業生涯的輝煌里程碑，

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《尋找寶藏》將奈良少女濃縮為奈良美智個人藝術進程的象徵性體現，可見藝術家對自我發現和自我成長孜孜不倦的追求，優雅地反映著他不斷進化的藝術和不屈不撓的精神。它超越了一副單純的繪畫，洋溢一種旖旎的內省，將觀者置身寧靜境界，並在該境界中脆弱地暴露情感。

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\n二十世紀及當代藝術晚間拍賣

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香港，2023年 3月30日

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\n二十世紀及當代藝術日間拍賣

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香港，2023年 3月31日

\n","2023-03-25T11:17:07.000000Z","https://www.phillips.com/article/118445563/the-enchanting-world-of-yoshitomo-nara-cn",6,1768,4156,118445563,"https://flockler.com/thumbs/sites/889/184841_atd_uc777868-bf6fd8ab-731a-4151-8c94-72e17c4eace9_s600x0.jpg","Phillips' highly anticipated 20th Century & Contemporary Art Evening Sale in Hong Kong presents Yoshitomo Nara’s “Lookin' for a Treasure” as a star lot.","Golden Visions: The Enchanting World of Yoshitomo Nara","

Yoshitomo Nara, Lookin' for a Treasure, 1995
\nEstimate on Request
\n20th Century & Contemporary Art Evening Sale, 30 March

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中文閱讀

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Yoshitomo Nara’s evocative artistry has stirred a quiet storm in the art world.

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His "Nara girls" are the embodiment of mayhem and innocence, as they evoke a sense of childlike wonder that speaks to the universal desire for joy and freedom. The large-headed child with pudgy cheeks and narrowed, fixatedly piercing jellybean eyes and small, cherry-red lips, forms the expression of a mischievous, confident smirk that quietly confronts the viewer.

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In Lookin' for a Treasure, Nara’s unique style is on full display. The golden-yellow dressed girl stands out against the pale blue background, emanating a sense of playfulness. The painting beckons the viewer to embark on a journey of discovery, to join the girl in the search for the treasure.

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Lookin' for a Treasure is one of Nara’s rarest works on canvas. It belongs to a small series of only four canvases Nara painted in 1995 that feature a golden-yellow dressed girl against a pale blue background. Of the series, one has been acquired by the Tokushima Modern Art Museum for its permanent collection, while the other two paintings have not been offered before at auction. This highly coveted piece is expected to fetch a high price at Phillips' 20th Century & Contemporary Art Evening Sale in Hong Kong.

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An Artistic Awakening: Nara’s Momentous Year of 1995

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The year 1995 marked a significant turning point in Yoshitomo Nara's artistic journey. It was a year of transformation, a year of new beginnings and profound discoveries that shaped his creative vision for years to come.

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The release of his first monograph offered a glimpse into Nara’s creative process, revealing a world that was at once playful and poignant, innocent and subversive. It established his status as a leading contemporary artist, inspiring and captivating audiences with his unique style and idiosyncratic characters.

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In the same year, Nara's partnership with the esteemed Blum & Poe Gallery in Los Angeles opened the doors for him on the global stage, exposing his work to new audiences and showcasing the breadth of his talent.

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But it was his breakthrough solo exhibition at SCAI the Bathhouse in Tokyo, titled "In the Deepest Puddle” that truly defined his career. This exhibition marked a turning point in his artistic journey, propelling him to international fame and solidifying his reputation as a leading figure in contemporary art.

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Within this pivotal year, Lookin’ for a Treasure was created, capturing the essence of Nara's artistic vision and evoking a sense of wonder and mystery that continues to captivate audiences today.

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Rock and Roll: Fuelling His Creative Fire

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Nara's artistic vision was deeply influenced by the music that he listened to, particularly punk, rock, and folk. In 1995, his studio in Cologne became the beating heart of his world, where he worked long into the night to the sound of melodies that stirred his soul. It was here that Nara captured his unique blend of introspective emotions, perfectly translating his sense of contemplative loneliness and longing onto canvas. This period of intense creative output produced some of his most prized works, including the enigmatic Lookin' for a Treasure.

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As Takashi Azumaya astutely notes, “a rock musician can share mental impulses with his audience in real-time, depending on the beat or the warped guitar sound he plays.” Nara too, realised something profound within himself as he worked. This connection to music is palpable in his artistic style, which is both playful and provocative, evoking a sense of youthful rebellion and defiance.

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The Allure of Yellow

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Featuring a Nara girl against a pale blue background, the protagonist in Lookin’ for a Treasure wears a golden dress that is as vibrant as her sapphire-toned eyes.

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Yoshitomo Nara, Lookin' for a Treasure, 1995 (detail)
\nEstimate on Request
\n20th Century & Contemporary Art Evening Sale, 30 March

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Nara’s yellow-dressed muses are much more exclusive than their red and blue counterparts. As few as 20 yellow-dressed girls feature in his paintings before 2000, compared to more than 50 dressed in blue and 80 in red. And yet, three out of five of Nara’s highest results at auction are for works featuring yellow or yellow-red adorned heroines, confirming that this is a particularly coveted trait within the artist’s oeuvre.

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Perhaps the reason for the desirability of these golden girls lies in the auspicious and sacred symbolism conjured by the colour golden-yellow. In Chinese culture, it is considered imperial and reserved for the emperor, representing power, royalty, and prosperity. In Japan, yellow is considered the colour of nature and sunshine, whereas it symbolises joy and optimism in Western culture. The meaning of the colour gold is multifaceted, often denoting generosity and compassion, as well as being synonymous with divinity and status in many religious settings, including in Renaissance art.

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The Mystical Realm: The Artist's Spiritual Evolution

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It is not just the colour of the dress that makes Nara girls so special.

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When examined collectively, it can be hypothesised that Nara was interested in the fundamental elements that define our world at the time of their execution — earth, air, water and spirit. Untitled (Broken Treasure) depicts a figure clutching a plant, which could represent the earth, while I'm Swaying in the Air references our atmosphere. Walking with Little Steps portrays an androgynous, small child carrying a fishing rod, suggesting water. In Lookin’ for a Treasure, the protagonist engages in the act of dowsing, which alludes to mysticism, magic, and the otherworldly.

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Yoshitomo Nara, Untitled (Broken Treasure), 1995
\nacrylic on canvas, 150 x 150 cm
\nCollection of The Tokushima Modern Art Museum
\nArtwork: © Yoshitomo Nara

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Yoshitomo Nara,  Lookin’ for a Treasure, 1995
\nacrylic on canvas, 120 x 110 cm.
\nThe present lot

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Nara’s time in Germany marked a significant shift in his style, as he departed from the vibrant tones and harsh outlines of his earlier works. This period of tremendous growth allowed him to refine his painting technique and explore new forms of expression. Lookin' for a Treasure reflects this evolution, with its subdued palette and delicate brushwork reflecting the artist’s newfound sensitivity to light, shadow, and human emotion.

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The Nara girl in Lookin' for a Treasure holds a set of dowsing tools, which somewhat resemble paintbrushes and alludes to the possibility that the Nara girl is a self-portrait of the artist himself, searching for ‘treasure’ in the development of his art during his years in Germany.

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The painting's title references the L-shaped dowsing prongs the child points forward, capturing the adventurous spirit of the Nara girl as she searches intently.

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Dowsing has a long and diverse history in Germany as a type of divination, with many distinct practitioners and schools of thought arising over the years, and it is probable Nara first became acquainted with it during his time in Europe. The theory behind the practice suggests that divining tools such as a forked stick or prongs react to subtle vibrations or energy fields emanating from water, minerals, or other hidden treasures, guiding the dowser to their hidden locations.

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Nara’s Journey: Ripples in Tranquil Waters

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For Nara, the ideas conveyed in Lookin' for a Treasure serve as a powerful metaphor for his own journey. At the time of its creation, he was on the brink of international success, and his largely isolated childhood in postwar Hirosaki, where Nara had two working parents and was thus largely left to his own devices, had shaped his identity. His path traversed Musashino Art University in Tokyo, Aichi Prefectural University of Fine Arts and Music near Nagoya, and later, Germany, where he deepened his love for music.

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Over time, he became entranced by a myriad of subcultures and immersed himself in the heart of various communities. Each monumental experience gracefully wove into the iridescent tapestry of his distinctive sense of self, resulting in a triumph of artistic identity.

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Today, Yoshitomo Nara’s art has captivated audiences around the world. The artist’s mesmerising world has graced the halls of the most prestigious art institutions across the globe, including the Museum of Contemporary Art, Los Angeles, the Asia Society Museum in New York, and the Tokyo National Museum of Modern Art. An illustrious milestone in the artist’s ascending journey, the 2019 Nara retrospective at the Los Angeles County Museum of Art was applauded as a masterstroke.

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Lookin' for a Treasure encapsulates the Nara girl as a symbolic embodiment of Nara’s own artistic journey — the relentless pursuit of evolution and self-discovery elegantly mirroring his ever-transforming art and indomitable spirit. It transcends mere painting, emanating a beguiling introspection that lulls the viewer into a serene realm, where emotions lay bare and vulnerable.

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20th Century & Contemporary Art Evening Sale

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Hong Kong 30 March 2023

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20th Century & Contemporary Art Day Sale

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Hong Kong 31 March 2023

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\n","2023-03-25T10:33:29.000000Z","https://www.phillips.com/article/118442780/the-enchanting-world-of-yoshitomo-nara",5,1767,4155,118442780,"https://flockler.com/thumbs/sites/889/thumbnail_kusama-48b03634-3472-4931-b446-69bbdb070715_s600x0.jpg","On 31 March, Phillips will present Yayoi Kusama's masterpiece, Pumpkin, 1995 in the 20th Century & Contemporary Art Evening auction. ","Yayoi Kusama: Pumpkin | Hong Kong | March 2023 (Video)","

With its charming, jolly, and peaceful presence, the pumpkin is unequivocally the most iconic motif of Kusama’s career. Presented in the 20th Century & Contemporary Art Evening Sale on 31 March, Pumpkin is one of the highest valued works by Yayoi Kusama to ever be offered at auction. Fresh to the market, Pumpkin comes from the esteemed collection of the Clarinda Carnegie Art Museum in Clarinda, Iowa, United States. The sale proceeds will further the Museum’s critical mission of promoting the arts to a global community of enthusiasts, while also supporting local arts and youth programs.
\n
\nWatch the video to learn more about this unique painting by one of the most prominent and prolific artists working today.

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\n","2023-03-28T09:47:28.000000Z","https://www.phillips.com/article/118725146/kusama-yellow-pumkin-video",4,1775,4168,118725146,"https://flockler.com/thumbs/sites/889/183131_scf_uc766046_high-res-6737d9c4-6686-4bee-906b-732229a81e08_s600x0.jpg","草間彌生正於香港M+視覺文化博物館舉辦亞洲最大規模的個人回顧展《草間彌生：一九四五年至今》，以下是有關草間彌生的七件事，不容錯過。 ","有關草間彌生的七件事","

草間彌生，《南瓜》，1995年作
\n估價 40,000,000 - 50,000,000港元
\n二十世紀及當代藝術晚間拍賣，3月30日

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草間彌生生於1929年，自小立志成為藝術家。從10歲起，她就以家族苗圃和種子農場出售的南瓜為靈感，創作南瓜畫作。1950年代，她在家鄉日本成功舉辦個展後，逃離戰時日本的保守主義和父權社會，毅然出走美國，尋找新機會。她開始在西雅圖生活和展示作品，與喬治亞．歐姬芙（Georgia O’Keeffe）通信；後者更鼓勵草間彌生於1958年搬到紐約。當時正值抽象表現主義藝術運動的鼎盛時期，以及新興波普藝術界的風口浪尖。經過七十年磨練自己的反主流文化、女權主義和幻想藝術品牌，草間彌生被認為是世界上最成功的在世女性藝術家。

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萬眾期待的富藝斯香港二十世紀及當代藝術拍賣舉行在即，而香港M+博物館舉辦的回顧展《草間彌生：一九四五年至今》亦備受青睞，令不少外國遊客首次欣賞到草間真跡，深入探討藝術家的七十年職業生涯。以下是有關這位在世傳奇人物的七件趣事。

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\n草間彌生是史上最高拍賣成交紀錄的在世女藝術家

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草間彌生以94歲之齡，被譽為歷來最成功的在世女性藝術家之一。她的作品在拍賣市場中經常遠超估價成交，足以反映上述一點。

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2022年5月，富藝斯紐約舉辦本行歷來最成功的拍賣，以《無題（網）》為草間彌生刷新個人世界拍賣紀錄。拍品屬於藏家夢寐以求的早期白色《無限網》（Infinity Net）畫作系列，終以10,496,000美元成交，遠超500萬至700萬美元的估價。

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草間彌生，《無題（網）》，1959年作
\n成交價10,496,000美元
\n富藝斯與永樂拍賣聯合呈獻「二十世紀及當代藝術」晚間拍賣，2022年5月

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草間彌生超凡脫俗的雕塑和裝置固然值得留意，但這位藝術家的畫作同樣不容忽視。其白色《無限網》系列猶如極簡主義藝術運動的預示，亦被不少著名機構納入館藏，包括：紐約所羅門 R. 古根海姆博物館、紐約現代美術館、洛杉磯縣立美術館和東京當代美術館等。

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\n她自願入住東京的精神病院

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「我每天都與痛苦、焦慮和恐懼作戰，而我發現唯一可以緩困的方法就是繼續創作藝術。」 —草間彌生

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草間彌生自小在視覺和聽覺方面患有幻覺障礙，以及強迫性神經症，而這些問題亦於她的作品上表露無遺。

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藝術家於1977年自願入住東京一家精神病院，並一直長居於此。她每天在位處病院對面的工作室，與助手團隊創作，在晚膳前再次回到院中。

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受幻覺體驗的啟發，草間彌生的《無限網》不僅是藝術家維持最久的創作系列（1959年在紐約首次公開展出），當中的筆觸節奏和無窮無盡之感更成為了她的藝術療法：「沒有開始、終結或中段」，與多重波點作品也大有關連。

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其1995年著作《南瓜》結合了草間的夢幻南瓜主題和無限網的背景，也是本季香港二十世紀及當代藝術晚間拍賣的焦點拍品。金黃南瓜與黑色波點對比鮮明，背景輔以由幼線相互連接而成的精緻三角形，構成一片無限網，而豐腴的瓜體懸浮於上。這幅大型壓克力畫布估價為40,000,000 - 50,000,000港元。

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\n她終生厭性，卻代表著自由的愛

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「為了治癒我對性的厭惡感，我開始以陰莖為創作題材。重覆製作厭惡之物是我克服恐懼的方式。這是一種自我治療，因此我將其命名為『心身藝術』。」— 草間彌生

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在母親強迫少年草間監視其父偷情以後，草間對性產生了厭惡感。儘管她的作品常以幽默元素探索陰莖形態和性（例如她在無限房間《陽具的領域》（Phalli's Field）所展示的軟雕塑），她認為自己是無性者。

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草間彌生位處1965年的無限房間《陽具的領域》
\nImage: Eikoh Hosoe/Courtesy of Ota Fine Arts, Tokyo/Singapore; Victoria Miro, London; David Zwirner, New York

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草間彌生，《無題》，1965年作
\n估價1,600,000 - 2,600,000 港元
\n二十世紀及當代藝術日間拍賣，3月31日

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\n有關草間彌生的人際關係，藝術家將自己與美國視覺藝術家約瑟夫．康奈爾（Joseph Cornell）的一段情描述為浪漫柏拉圖式關係。直到康奈爾於1972年去世前，這對藝術家一直保持密切聯繫，並且深深影響了草間。

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\n草間彌生的《南瓜》與安迪．沃荷的《湯罐》並駕齊驅

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「在我上小學的時候，我第一次看到南瓜，當時我和祖父一起到訪廣闊的農地……一個人頭大小的南瓜在我眼前……立即以生動有趣的方式引起我的共鳴。」 —草間彌生

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草間彌生和安迪．沃荷（Andy Warhol）在波普藝術於紐約蓬勃發展之時不僅是彼此的同行，草間的無限重複主題據稱也啟發了沃荷的部分著作。其他紐約藝術家亦注意到她的創新作品：她在盧卡斯．薩馬拉斯（Lucas Samaras）構思他的鏡房前已經架設了個人首個無限鏡房，並在克萊斯．歐登柏格（Claes Oldenburg）之前製作柔軟織物雕塑。

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草間家族在日本松本市所擁有的苗圃花田
\nImage: © YAYOI KUSAMA

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草間彌生在二戰期間經常進食南瓜，或許可以解釋她對這個大葫蘆的部分依戀。然而，南瓜主題確實由她自幼產生的生動幻覺應運而生。有一次，她陪祖父去苗圃，在那裡看到了一個人頭大小的南瓜。當她伸手撿起那個南瓜時，她記得它和她說話。南瓜首次出現在1946年日本長野縣和松本市的巡迴展覽之中，當時她展示了同名作《南瓜》（Kabocha）。

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就如上文提到的 1995 年作品《南瓜》，這件1991年作品《南瓜》小巧珍貴，捕捉一個不同形狀的葫蘆形紅色南瓜，並以幼線構成的無限網環繞。這幅壓克力畫布估價為3,500,000 - 5,500,000港元。

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草間彌生，《南瓜》，1995年作
\n估價40,000,000 - 50,000,000 港元
\n二十世紀及當代藝術晚間拍賣，3月30日

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草間彌生，《南瓜》，1991年作
\n估價3,500,000 - 5,500,000港元
\n二十世紀及當代藝術日間拍賣，3月31日

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\n與路易威登合作之前，她已是一位時尚達人

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「了解到時尚和小行星之美以後，你就知道時尚是一種奇妙的表達方式。」- 草間彌生

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2012年，這位在世傳奇與法國時裝品牌路易威登及其時的創意總監Marc Jacobs合作，推出了名為「無線點」（Infinity Dots）的膠囊系列。時至今年，這家時裝品牌較早前和藝術家再度聯手，呈現《創造無限：路易威登和草間彌生的世界》的全球活動，推出一系列以原創圖案裝飾的全新產品，例如南瓜和具象花，其中靈感來自草間彌生的標誌性作品。

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然而，草間彌生此前經常通過她的藝術，例如在藝術品或裝置中用上人體模型，分享她對時尚的癡心長情。她的M+回顧展設有生動展品《自我毀滅》，輔以塗有波點的人體模型戴著假髮，假扮成進食午餐的女士；而富藝斯香港二十世紀及當代藝術晚間拍賣中的《無題》（出自〈壓迫意象展〉之人體模型）亦如出一轍。它展示了塗有藍色的單獨人體模型，滿佈圓點，頭戴假髮，並以對立姿勢站著。
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\n《無題》是草間彌生〈壓迫意象展〉系列藝術作品的一部分，該系列作品於1964年首次在紐約 Castellane 畫廊展出。由於一些曾在〈壓迫意象展〉上展出的雕塑作品現在已經失傳，因此這件174公分高的《無題》是一件極其罕見、特別，且具有歷史意義的藝術品。此外，另一拍品《女孩子們》是一幅壓克力及彩色筆的繪畫，描繪一系列超現實面孔，由流暢的裝飾線條組成。

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草間彌生，《無題》（出自〈壓迫意象展〉之人體模型），1966年作
\n估價1,500,000 - 2,300,000港元
\n二十世紀及當代藝術晚間拍賣，3月30日

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草間彌生，《女孩子們》，2004年作
\n估價800,000 - 1,200,000港元
\n二十世紀及當代藝術日間拍賣，3月31日

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\n她用波點來忘憂解困

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「綜觀數以百萬計的其他天體，我們的地球就像一個小圓點。」— 草間彌生

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草間彌生的波點創作來自她自小所產生的幻覺，並且成為她在紐約藝術界的標誌。上述標記與抽象表現主義者積遜．波洛克（Jackson Pollock）的戲劇性潑墨形成鮮明對比；比較之下，波點更為冷靜平和，其視覺效果更具節奏感。

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當中的反覆落筆也有助她消除精神鬥爭所帶來的侵入性想法，被外界認為是其手段之一，也是替代觀者的手段以「消除自我」，並與宇宙合一。

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在另一次童年幻覺體驗中，她回憶起自己置身於一片花叢中，所有花都開始和她說話，而花的頭就像她視線範圍內一直延伸的點。2001年三聯作《無限的點（HTI）》是藝術家公開拍賣的最大油畫作品之一，也實現了她的童年景象。這些完美的圓點在連接的畫布上跳躍，彷如暗月下田野中的一簇白牡丹。

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草間彌生，《無限的點（HTI）》，2001年作
\n估價25,000,000 - 30,000,000港元
\n二十世紀及當代藝術晚間拍賣，3月30日

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\n香港M+博物館現正舉辦日本以外亞洲最大規模的草間彌生回顧展

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香港M+博物館現正舉辦草間彌生日本以外亞洲最大規模的回顧展，展期至2023年5月14日。其中一件同系列展品亦會在富藝斯香港二十世紀及當代藝術日間拍賣出現，藏家可藉此機會將草間的創作帶回家中。拍品名為《南瓜西洋棋》，由藝術家於2003年親手上色。這套紅色圓點國際象棋規模頗大，讓玩家可以安坐於一對隨附的白色皮凳下棋，甚至可能激發馬素．杜尚（Marcel Duchamp）向藝術家宣戰。這件草間彌生雕塑獨一無二，估價為 2,200,000 - 3,200,000港元，價格相宜。

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草間彌生，《南瓜西洋棋》，2003年作
\n估價2,200,000 - 3,200,000 港元
\n二十世紀及當代藝術日間拍賣，3月31日

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\n回顧展名為《草間彌生：一九四五年至今》，展示200多件作品，包括繪畫、素描、雕塑、裝置和文獻等，呈現藝術家漫長而傳奇的職業生涯。如果閣下錯過這場精彩展覽，M+最近宣布回顧展將會移師至西班牙畢爾包的古根海姆博物館舉行，並於 6 月 27 日開幕，展出至2023 年 10 月 8 日。

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草間彌生，《真晝》， 1983年作
\n估價500,000 - 700,000 港元
\n二十世紀及當代藝術日間拍賣，3月31日

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\n有關回顧展詳情，請瀏覽以下連結：
\nhttps://www.mplus.org.hk/en/exhibitions/yayoi-kusama-1945-to-now/

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\n二十世紀及當代藝術晚間拍賣

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香港，2023年 3月30日

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\n二十世紀及當代藝術日間拍賣

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香港，2023年 3月31日

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","2023-03-27T14:47:34.000000Z","https://www.phillips.com/article/118644915/seven-things-you-need-to-know-about-yayoi-kusama-cn",3,1772,4160,118644915,"https://flockler.com/thumbs/sites/889/183131_scf_uc766046_high-res-effbbc52-395e-4b37-9627-742cceb4cad2_s600x0.jpg","Seven things you need to know about Yayoi Kusama, with the artist’s largest retrospective in Asia, Yayoi Kusama: 1945 to Now, currently on view at museum M+ in Hong Kong. "," Seven things you need to know about Yayoi Kusama","

Yayoi Kusama, Pumpkin, 1995
\nEstimate HK$ 40,000,000 - 50,000,000
\n20^th Century & Contemporary Art Evening Sale, 30 March

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Born in 1929, Kusama dreamed of being an artist from childhood, making drawings of pumpkins inspired by the ones being sold at her family plant nursery and seed farm from age 10. After successfully exhibiting in her homeland in the 1950s, she fled Japan’s wartime patriarchy for new opportunities in the United States. Living and showing work in Seattle, she corresponded with Georgia O’Keeffe, who encouraged Kusama to move to New York in 1958, during the height of the Abstract Expressionist art movement and on the cusp of its emerging Pop art scene. After seven decades of honing her own brand of counterculture, feminism, and visionary art, Kusama is considered the most successful living female artist in the world.

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In anticipation of Phillips Hong Kong’s upcoming 20th Century & Contemporary Art sales, and with the increasing critical acclaim for her M+ retrospective, which many foreign visitors are seeing for the first time, we dive into seven things for seven decades. This is everything you need to know about the living legend Yayoi Kusama.

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Yayoi Kusama is the most expensive living female artist

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At 94, Kusama is considered one of the most successful living female artists of all time. Her work at auction reflects it, often selling for above pre-sale estimates.

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In May of 2022, Phillips New York hosted their most successful auction in company history, with a new world auction record set for Kusama’s 1959 painting Untitled (Nets). Part of the artist’s coveted early series of white Infinity Net canvases, Untitled (Nets) hammered down for US$10,496,000 against estimates of US$5 - 7 million.

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Yayoi Kusama, Untitled (Nets), 1959
\nsold for US$10,496,000 at Phillips’ 20^th Century & Contemporary Art Evening Sale
\nMay 2022, New York
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Internationally known for her extraordinary and otherworldly sculptures and installations, Kusama is also well-respected and widely collected as a painter. Anticipating the minimalist art movement, her white Infinity Nets reside in notable institutional collections, including the Solomon R. Guggenheim Museum, New York, Museum of Modern Art, New York, Los Angeles County Museum of Art, and Museum of Contemporary Art in Tokyo, among others.

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She lives in a psychiatric facility in Tokyo, voluntarily

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"I fight pain, anxiety, and fear every day, and the only method I have found that relieved my illness is to keep creating art." — Yayoi Kusama

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Since early childhood, Kusama has suffered from visual and aural hallucinations, as well as obsessive neuroses, which she meets head-on in her work.

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She currently lives in a psychiatric institute in Tokyo, after voluntarily checking herself into the facility in 1977. She works daily with a team of assistants at her studio, just across the street from the institute, and returns by dinner.

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Inspired by her hallucinatory experiences, Kusama's Infinity Nets series is the artist's longest-running body of work (made public when she first exhibited in New York in 1959). Its rhythmic motion and sense of infiniteness, "without beginning, end, or centre", has a relationship to her works with repetitive dots, which together have become her form of art therapy.

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The backgrounds of Kusama’s coveted pumpkin canvases employ the pattern of the infinity nets, as seen in her exquisite 1995 painting Pumpkin, which is among the highlights of this season's 20th Century and Contemporary Art Hong Kong Evening Sale. Depicting a vibrant yellow pumpkin with undulating black dots, the voluptuous vegetable floats on an infinite field of interconnected lines forming delicate triangles. A large-scale acrylic on canvas, it has a pre-sale estimate of HK$40 - 50 million.

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She's had a lifelong aversion to sex - but represented free love

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“I began making penises in order to heal my feelings of disgust towards sex. Reproducing the objects, again and again, was my way of conquering the fear. It was a kind of self-therapy, to which I gave the name ‘Psychosomatic Art’.”—Yayoi Kusama

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Kusama developed an aversion to sex after her mother forced a young Kusama to spy on her father while with his lovers. She identifies as asexual, although her work often explores phallic forms and sexuality juxtaposed with elements of humour, like her soft sculptures in Phalli's Field Infinity Room.

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Yayoi Kusama in her Phalli's Field infinity room in 1965.
\nImage: Eikoh Hosoe/Courtesy of Ota Fine Arts, Tokyo/Singapore; Victoria Miro, London; David Zwirner, New York

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Yayoi Kusama, Untitled, 1965
\nEstimate HK$ 1,600,000 - 2,600,000
\n20th Century & Contemporary Art Day Sale, 31 March

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When it comes to Kusama's own relationships, the artist describes her relationship with the American visual artist Joseph Cornell as romantic yet platonic. The pair remained close until his death in 1972, which affected Kusama deeply.

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Kusama's pumpkins give Warhol's soup cans a run for their money

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“The first time I ever saw a pumpkin was when I was in elementary school and went with my grandfather to visit a big seed-harvesting ground…and there it was: a pumpkin the size of a man’s head… It immediately began speaking to me in a most animated manner” —Yayoi Kusama

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Kusama and Andy Warhol were not only peers in New York's thriving pop art scene, her repeated motifs reportedly inspired some of his famous works. Other New York artists also took note of her innovative works, as she made her first Infinity Mirror Room before Lucas Samaras conceived his room with wall-to-wall mirrors and created soft fabric sculptures in advance of Claes Oldenburg.

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A flower field in the seed nursery owned by Yayoi Kusama’s family in Matsumoto, Japan.
\nImage: © YAYOI KUSAMA

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Kusama's diet of pumpkins during World War II, however, may partly explain her attachment to the colourful gourd, but the artist's pumpkin motif truly came to harvest through vivid hallucinations in her youth. The artist remembers accompanying her grandfather to a nursery, where she saw a pumpkin the size of a man’s head. When she reached down to pick it up, she recalls that it spoke to her. The pumpkin motif first appeared in Kusama’s travelling exhibition in Nagano and Matsumoto, Japan, 1946, when she presented Kabocha (Pumpkin).

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Like the previously mentioned 1995 Pumpkin painting, her smaller but precious 1991 Pumpkin canvas captures a red, differently shaped gourd, surrounded by a linear pattern forming an infinity net. Acrylic on canvas, has a pre-sale estimate of HK$3.5 – 5.5 million.

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Yayoi Kusama, Pumpkin, 1995
\nEstimate HK$ 40,000,000 - 50,000,000
\n20th Century & Contemporary Art Evening Sale, 30 March

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Yayoi Kusama, Pumpkin, 1991
\nEstimate HK$ 3,500,000 - 5,500,000
\n20th Century & Contemporary Art Day Sale, 31 March

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She was a fashionista well before her Louis Vuitton collaborations

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"When you understand the beauty of fashion, and the beauty of small planets, you realise that fashion is a marvellous form of expression."- Yayoi Kusama

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In 2012, the living legend collaborated with French fashion house Louis Vuitton and its Creative Director Marc Jacobs to reveal the Infinity Dots capsule collection. The fashion house and artist topped that collaboration earlier this year with its worldwide CREATING INFINITY: THE WORLDS OF LOUIS VUITTON AND YAYOI KUSAMA campaign, which produced a series of new creations adorned in original motifs, such as Pumpkins and Figurative Flowers, inspired by Kusama’s iconic works.

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But Kusama has often shared her long-standing fondness for fashion through her art, often employing mannequins in her individual artworks and installations. Her M+ retrospective features the tableau vivant Self-Obliteration, depicting painted, polka dotted mannequins wearing wigs while posing as ladies who lunch. Likewise, in the 20th Century and Contemporary Art Hong Kong Evening Sale, Untitled (Mannequin from The Driving Image Show) presents a solo blue-painted mannequin covered in dots while wearing a wig and standing in a contrapposto pose and The Girls, an acrylic and felt pen painting of a surreal series of faces formed from flowing decorative lines. Untitled (Mannequin from The Driving Image Show) consists of a female mannequin that seems to have been caught in the act of shying away from an invisible object or subject, with the head turned to her left and the rest of the body curved to her right. The Driving Image Show was presented at Castellane Gallery in New York in 1964, the fact that some of the sculptures which were exhibited at the exhibition are now lost makes this 174 cm tall Untitled an incredibly rare, exceptional and historically relevant artwork.

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Yayoi Kusama, Untitled (Mannequin from The Driving Image Show), 1966
\nEstimate HK$1,500,000 - 2,300,000
\n20th Century & Contemporary Art Evening Sale, 30 March

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Yayoi Kusama, The Girls, 2004
\nEstimate HK$ 800,000 - 1,200,000
\n20th Century & Contemporary Art Day Sale, 31 March

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She used polka dots to get out of her head

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"Our earth is like one little polka dot, among millions of other celestial bodies." — Yayoi Kusama

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Kusama's polka dots date back to hallucinatory experiences in her youth and became her signature as she navigated the New York art scene. A stark contrast to the dramatic marks popularised by abstract expressionist Jackson Pollock, Kusama's polka dots are comparatively calm, collected and offer a rhythmic optical sensation.

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Her repetitive strokes also help her to eliminate the intrusive thoughts brought on by mental struggles. They are considered a means for her - and vicariously for the viewer - to "obliterate the self" and become one with the universe.

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In another childhood hallucination, she recalls being in a field of flowers that all started talking to her. The heads of the flowers were like dots that went on as far as she could see. Her 2001 triptych Infinity Dots (HTI), which is one of her largest paintings to ever appear at auction, brings form to her youthful vision. Her perfectly painted dots bounce across the joined canvases like a cluster of white peonies in a shadowy, moonlit field.

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Yayoi Kusama, Infinity Dots (HTI), 2001
\nEstimate HK$ 25,000,000 - 30,000,000
\n20^th Century & Contemporary Art Evening Sale, 30 March

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Yayoi Kusama, Pumpkin Chess Set, 2003
\nEstimate HK$ 2,200,000 - 3,200,000
\n20th Century & Contemporary Art Day Sale, 31 March

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Titled 1945 to Now, the sensational M+ show allows viewers access to more than 200 works, including paintings, drawings, sculptures, installations, and archival materials that are a testament to Kusama's long and storied career. And if you cannot see the blockbuster show in Hong Kong, officials at M+ recently announced that the retrospective will travel to the Guggenheim Museum in Bilbao, where it will open on 27 June and run through 8 October, 2023.

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Yayoi Kusama, Daytime, 1983
\nEstimate HK$500,000 - 700,000
\n20th Century & Contemporary Art Day Sale, 31 March

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For more details, click here:

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https://www.mplus.org.hk/en/exhibitions/yayoi-kusama-1945-to-now/

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\n","2023-03-26T06:48:20.000000Z","https://www.phillips.com/article/118520198/seven-things-you-need-to-know-about-yayoi-kusama",2,1769,4157,118520198,"https://flockler.com/thumbs/sites/889/184897_scf_uc773334-8f54362a-2da1-437e-96e3-4e6cd13f01a3_s600x0.jpg","安迪．沃荷以廣告創作的商業藝術家身份開始職業生涯，隨後成為享負盛名的當代藝術家，並在晚期追本窮源，再度探索廣告領域。","藝術廣告狂人：安迪．沃荷 ","

安迪．沃荷，《救生圈》（出自《廣告》系列），1985年作
\n估價4,500,000 - 6,500,000 港元
\n二十世紀及當代藝術晚間拍賣，3月30 日

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波普藝術家安迪．沃荷是這個時代中最著名的當代藝術家之一，他的創作生涯卻由插圖師身分開始，曾為雜誌、唱片和書籍繪畫廣告和編輯圖片。

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藝術家本名是Andrew Warhola Jr.，1928年出生於美國賓夕法尼亞州匹茲堡，在斯洛伐克移民家庭長大，兄弟姐妹中排名第三。他自幼就讀匹茲堡小學時就對藝術產生興趣，後於卡內基理工學院攻讀繪畫設計學位，並在學院學會了創作插圖的吸墨線技術。這種技術亦令沃荷在移居紐約初期迅速崛起。

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沃荷大學畢業後搬到紐約，去掉了原姓的「a」，開始雜誌插圖和廣告創作的職業生涯。他的首項工作是為《Glamour》雜誌的一篇文章繪製插圖，而該文標題是「成功是紐約的職業之一」（Success is a Job in New York）。在這個跨頁故事中，他在左頁畫上梯子，梯上展示多款女裝鞋，而右頁則有另一梯子，梯上展示一個攀爬的女人，輔以文章標題。對於這位剛開始在紐約創作的年輕藝術家來說，文章實是一種諷刺。

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安迪．沃荷為《Glamour》雜誌創作的首份插畫作品。Image courtesy of Glamour Magazine.

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沃荷在紐約市的第二份插畫工作是為CBS電台節目製作宣傳廣告，並為他贏得「報紙廣告藝術：藝術總監俱樂部獎章」（Art Directors Club Medal for Newspaper Advertising Art）。此後，他在這個著名商業藝術組織中多次獲獎，而以上夢寐以求的獎章標誌著其中首次殊榮。1950年代期間，他以自由身插畫師身分工作，通過為蒂芙尼、I. Miller Shoes、Bonwit Teller、Vogue、Harper's Bazaar、Mademoiselle和Columbia Records等品牌、企業和刊物工作的經驗，創作了一系列奇妙作品，完善了他的吸墨線繪畫技巧。

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藝術家在此期間亦創作了他的第一張名人肖像，為貝西伯爵（Count Basie）1955年專輯製作封面插圖。然而，他在此後五年的主要客戶是1901年創辦的女裝鞋公司I. Miller，而I. Miller與沃荷合作初期就開始重塑品牌。他為I. Miller創作了二千多條廣告，其插圖登上了當時一流雜誌的版面，每週更在《紐約時報》周日版上發表。

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沃荷憑籍I. Miller時裝表演的廣告而大受歡迎，其中《Women’s Wear Daily》雜誌稱他為「時裝界的達文西」。此外，《Life》雜誌刊登了其象徵著不同名人的金色便鞋繪圖，而該文章報導他在1956年於紐約畫廊舉辦的個展。通過與知名品牌和刊物合作，他了解到與名氣掛鉤的利益。後來，他在創作首輪波普藝術品時也應用了這一課堂，以名人和名牌為題，包括：金寶湯、可口可樂、瑪麗．蓮夢露、貓王和伊麗莎白．泰萊等。

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安迪．沃荷，《華麗金黃便鞋》，《Life》雜誌，1957年
\nImage courtesy of Life Magazine.

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儘管沃荷的華麗鞋展（《Life》雜誌稱之為《華麗金黃便鞋》）是他在1950年代最成功的展覽，但他在商業藝術時期亦舉辦了不少個展，而且從未真正離開該範疇。即使在他成為非常成功的當代藝術家後，他仍與其他品牌合作。因此，當沃荷在去世前兩年創作1985年《廣告》繪畫和版畫系列時，這位年邁的藝術家其實是落葉歸根，重新審視廣告和品牌領域。

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其時，沃荷剛剛與費朗西斯高．克萊蒂（Francesco Clemente）合作，並與尚-米榭．巴斯奇亞（Jean-Michel Basquiat）合創一系列著名畫作。被譽為「波普教皇」的沃荷借鑒了標誌性公司的新舊廣告和圖像，創作一系列生動作品。或許受到二十出頭的年輕巴斯奇亞所啟發，又或者是出於自己對於在紐約度過年輕時光的嚮往，當時的雄心勃勃再次成為他的動力，沃荷以全新眼光看待他由衷喜歡的廣告領域。

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安迪．沃荷，《救生圈》（出自《廣告》系列），1985年作
\n估價4,500,000 - 6,500,000 港元
\n二十世紀及當代藝術晚間拍賣，3月30 日

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安迪．沃荷，復古Life Saver 雜誌廣告，1950年代

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1985 年創作的《廣告》系列將於富藝斯香港即將舉行的二十世紀及當代藝術晚間拍賣中呈現，包括：《救生圈》、《美孚汽油》、《派拉蒙影業》、《無題（大眾檸檬）》。在他《救生圈》畫作中，沃荷挪用了流行彩色糖果的1950年代懷舊廣告，其中這則廣告戲謔道：「請不要舔這個頁面！」藝術家試圖投入觀者的思想中，亦諷刺地將上述標語移師至這幅易於理解的畫作之上。

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安迪．沃荷，《美孚汽油》（出自《廣告》系列），1985年作
\n估價3,000,000 - 5,000,000 港元
\n二十世紀及當代藝術晚間拍賣，3月30 日

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《美孚汽油》以 1940 年代「Socony-Vacuum Mobilgas」置有華麗飛馬的復古盾牌為題。飛馬取自藝術家成年時美國東北部的一個流行品牌，而帶有翅膀的飛馬圖像起源於希臘神話。同時，飛馬也是匹茲堡一家受歡迎的休閒酒吧名稱，而該休閒酒吧在1980年代積極抗擊愛滋病，因此飛馬的圖像可能帶有雙重意思。此外，噴出火焰的黑色飛馬也出現在 1984 年沃荷和巴斯奇亞合繪的《阿莫科》（Amoco）中。

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他還在其他與巴斯奇亞的合繪作品中絲印了派拉蒙影業的標誌，並在另一作品上手繪了該標誌。派拉蒙影業是世上現存最古老的電影製片廠，也是荷里活黃金時代的主要製片廠之一，而當時正值沃荷的青年時期。繪畫之時，藝術家的好友莊．高德（Jon Gould）是派拉蒙的行政人員，也使該製片廠出產的電影成為沃荷喋喋不休的話題。

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安迪．沃荷，《派拉蒙影業》（出自《廣告》系列)，1985年作
\n估價3,000,000 - 5,000,000 港元
\n二十世紀及當代藝術晚間拍賣，3月30 日

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在其《廣告》畫作系列的《派拉蒙影業》中，沃荷用上山圖標誌（據稱是以該公司聯合創辦人1920 年代的草圖為基礎），以代表製片廠演員人數的22顆星環繞著山（初版有24顆星）。派拉蒙一字出現在山峰上方，而1966年至1989年間擁有該製片廠的美國企業集團「A Gulf + Western Company」則被故意印在山峰下方，並且略微偏離原本位置（典型沃荷風格）。

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安迪．沃荷，《無題（大眾檸檬）》(出自《廣告》系列)，1985年作
\n估價 4,000,000 - 6,000,000 港元
\n二十世紀及當代藝術晚間拍賣，3月30 日

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安迪．沃荷，復古福斯汽車廣告，1960年-1968 年

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最後，《無題（大眾檸檬）》借鑒了戰後時期最巧妙的廣告活動之一。然而，畫作不只限於暗指藝術家早年奮鬥時期其中一款最受超脫人士和窮人歡迎的汽車型號。也許他不少朋友擁有一輛福斯甲蟲車，但檸檬一詞在這個福斯甲蟲車廣告中似乎同樣重要。由於童年疾病導致皮膚變色，沃荷常被在校欺凌。加上沃荷的父親在他13歲時去世，喪父的成長環境相當困難。他可能認為自己是檸檬，或者認為自己的經驗酸如檸檬。不過，常言道：「當人生給你檸檬時，你就做檸檬水」，而這位雄心壯志的藝術家亦最終振翅高飛，開闢藝術新天地。

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\n二十世紀及當代藝術晚間拍賣

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香港，2023年 3月30日

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\n二十世紀及當代藝術日間拍賣

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香港，2023年 3月31日

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\n","2023-03-27T15:54:34.000000Z","https://www.phillips.com/article/118650983/andy-warhol-from-adman-to-artist-and-back-again-cn",1774,4161,118650983,"https://flockler.com/thumbs/sites/889/184897_scf_uc773334-3b484362-3bea-4c5f-bbe7-195368cfffb6_s600x0.jpg","Starting his career as a commercial artist creating ads, Warhol revisited those roots as a successful contemporary artist in his later life.","Andy Warhol, From Adman to Artist and Back Again ","

Andy Warhol, Life Savers from the series Ads ,1985
\nEstimate HK$4,500,000 - 6,500,000
\n20^th Century & Contemporary Art Evening Sale, 30 March

\n\n

Written by Paul Laster

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Pop Art’s Andy Warhol is one of the most famous contemporary artist of our times, but his creative career actually began as an illustrator of advertisement and editorial images for magazines, records and books.

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Born Andrew Warhola Jr. in Pittsburgh in 1928, he was the third child of Slovakian immigrants. Taking an interest in art in primary school in Pittsburgh, he went on to study commercial art and received a BFA in pictorial design in 1949 from the Carnegie Institute of Technology, where he learned the blotted-line technique for creating illustrations, a practice that would bring him early success in New York.

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Relocating to New York after college, he dropped the “a” from his name and began a career in magazine illustration and advertising. His first assignment was to draw illustrations for a Glamour magazine story called Success is a Job in New York. In the double page spread, he illustrated an assortment of women’s shoes balanced on the rungs of a ladder on the left and a climbing woman reaching the top of a ladder on the right, with a headline that read, “Success is a Job in New York”—which was an ironic way for the young artist to get his start in New York.

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Andy Warhol’s first illustration assignment for Glamour magazine.
\nImage courtesy of Glamour Magazine

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Warhol’s second illustration job in the city—a promotional advertisement for a CBS radio show—won him a coveted Art Directors Club Medal for Newspaper Advertising Art, his first of many awards from the prestigious commercial arts organization. Working as a freelance illustrator throughout the 1950s, he perfected his blotted-line drawing technique through an endless series of whimsical works for Tiffany & Co., I. Miller Shoes, Bonwit Teller, Vogue, Harper’s Bazaar, Mademoiselle, and Columbia Records, amongst other businesses and publications.

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The artist did his first celebrity portrait during this period, creating a cover illustration of Count Basie for his 1955 album, but his primary client in the last half of the decade was I. Miller, a women’s shoe company dating back to 1901, which was being rebranded right at the time that Warhol started working with it. Creating more than 2000 advertisements for the company, his illustrations graced the pages of the premiere magazines of the day and were published weekly in the Sunday edition of The New York Times.

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Warhol became so popular for his I. Miller show ads that the publication Women’s Wear Daily dubbed him the “Leonardo of the Show Trade” and Life magazine featured his drawings of gold leaf ornamented slippers, which symbolized different celebrities, in an article about his 1956 solo show at a New York gallery. By working with prestigious brands and publications, he learned that he could benefit from an association with notable names—a lesson he would later apply when making his first Pop Art paintings of products like Campbell Soup and Coca-Cola and such celebrities as Marilyn Monroe, Elvis Presley, and Elizabeth Taylor.

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Andy Warhol, Crazy Gold Slippers, Life Magazine, 1957.
\nImage courtesy of Life Magazine

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Although his show of ornate shoes—what Life magazine called his “Crazy Golden Slippers”—was his most successful exhibition of the 1950s, Warhol presented a number of solo gallery shows throughout his commercial art period and—never really leaving that realm—he continued to collaborate with brands even after he became a highly successful artist in the contemporary art world. Thus, when Warhol revisited the domain of advertisements and brands with his 1985 Ad series of paintings and prints, which he produced just two years prior to his death, the aging artist was basically returning to his roots.

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Fresh off a collaboration with Francesco Clemente and in the moment of making his famous paintings with Jean-Michel Basquiat, Warhol—known by then as “The Pope of Pop”—created a lively series of works appropriating the ads and images from iconic companies and characters—both old and new. Perhaps motivated by working with the younger Basquiat, who was in his early 20s, or by longing for his own youthful days in New York, when a pounding ambition was his driving force, Warhol took a fresh look at a realm that he truly relished.

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Andy Warhol Life Savers from the series Ads ,1985
\nEstimate HK$4,500,000 - 6,500,000
\n20^th Century & Contemporary Art Evening Sale, 30 March

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Vintage Life Saver, 1950s. Magazine advertisement

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In his 1985 painting Lifesaver, which is featured—along with three other paintings, Mobilgas, Paramount, and Untitled (Volkswagen Lemon), from the series—in Phillips Hong Kong’s upcoming 20^th Century & Contemporary Art Evening Sale, Warhol nostalgically appropriated a 1950s advertisement for the popular, colorful candy. The ad teasingly states, “please do not lick this page!,” which now ironically puts Warhol’s accessible painting in the same desirable place in the thoughts of the viewer.

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Andy Warhol ,Mobilgas from the series Ad,1985
\nEstimate HK$3,000,000 - 5,000,000
\n20^th Century & Contemporary Art Evening Sale , 30 March

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The artist’s Mobilgas painting takes a vintage, 1940s Socony-Vacuum Mobilgas shield with its magnificent Pegasus logo as its point of departure. A reference to a popular brand in America’s Northeast when the artist was coming of age, its winged stallion imagery dates back to Greek mythology, but Pegasus was also the name of a popular Pittsburgh lounge that played an activist role in fighting AIDS in the 1980s, so the reference may be double-edged. The flying Pegasus horse, painted black and spewing fire from its mouth, also makes an active appearance in the 1984 Andy Warhol and Jean-Michel Basquiat collaborative painting Amoco.

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Warhol also silkscreened the logo for Paramount Pictures on a few of his collaborations with Basquiat and hand-painted it on another one. The oldest surviving film studio in the world, Paramount was one of the major studios during the Golden Age of Hollywood, when Warhol was a youth. At the time, Warhol’s friend Jon Gould was an executive at the movie studio, which would have made the it and the pictures being produced there a continuous topic of conversation for the artist.

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Andy Warhol, Paramount from the series Ad, 1985
\nEstimate HK$3,000,000 - 5,000,000
\n20^th Century & Contemporary Art Evening Sale, 30 March

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The logo that Warhol used in his Ad series painting, titled Paramount, features a drawing of a mountain (allegedly based on a 1920s doodle by the company’s co-founder) surrounded by 22 stars, which originally represented the number of actors (24 in the initial version) working for the studio. The name Paramount appears in script above the mountain peak, while A Gulf + Western Company, which was the American conglomerate that owned the studio from 1966 to 1989, is purposely printed slightly off-register (a typical Warhol style) below.

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Andy Warhol, Untitled (Volkswagen Lemon) from the series Ads,1985
\nEstimate HK$4,000,000 - 6,000,000
\n20^th Century & Contemporary Art Evening Sale, 30 March

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Vintage Volkswagen ad, 1960-68

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Finally, the artist’s Untitled (Volkswagen Lemon) references what is said to be one of the cleverest advertising campaigns of the postwar period. However, besides alluding to one of the most popular cars for bohemians and the impoverished in the artist’s early period of struggle, when any number of his friends may have owned a Volkswagen Beetle, the word Lemon seems to be of equal importance in this picture. Bullied in school because of a childhood illness that caused a skin discoloration, Warhol may have considered himself a lemon, or he may have thought of himself as a lemon due to the difficult circumstances of growing up without a father, who passed when he was just 13 years old. But as the proverb goes, “When life gives you lemons, make lemonade,” which is exactly what the ambitious young artist eventually did.

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20th Century & Contemporary Art Day Sale

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Hong Kong 31 March 2023

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Los Angeles-based Swiss painter Louise Bonnet dances between the humorous, the beautiful, and the monstrous in her paintings of strangely contorted, misshapen bodies or figures with oddly placed organs and appendages. Rendered with the meticulous attention to light, shadow, and texture of the Renaissance masters, her paintings enact emotions of shame and revulsion through the dramatic surrealism of the absurd. The Velour Jumpsuit, created in 2016, is an enchanting and thought-provoking example of Bonnet’s distinctive style. An apparently bodiless pale purple velvety jumpsuit set against a glowing greenish-yellow background is the tranquil backdrop for the outlandish occurrence of a digestive organ, placed outside of the body. The organ, which brings to mind a human stomach, is effortlessly volumetric and exquisitely rendered in chiaroscuro, and although located outside of the body it is drawn into the painting’s inherent drama via the rope that ties around the waist of the velour suit.

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Peculiar Bodies, Uncomfortable Minds

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“I’m interested in shame and the body in my paintings, and bodily functions bring extra shame and embarrassment.”
\n— Louise Bonnet

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Bonnet studied illustration and design in Geneva, and early on in her career created mostly traditionally figurative drawings and paintings. Her decision to one day focus solely on drawing faces for six months proved to be a turning point in her stylistic evolution. This concentrated period led to the discovery of her signature droopy, balloon-like style of painting noses, which later developed into her unique visual language of swollen, contorted, often faceless bodies.

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Captivated by the corporeal manifestation of internal emotions such as guilt and shame, Bonnet blurs the distinction between mind and body by synchronizing depth, volume, and form with the absurd and grotesque. As the artist herself says, her work portrays a deep interest in how 'emotions [are] made visible through the body.' Her contorted, uncomfortable bodies evoke psychological anguish, hinting at the innate connection between the physical and inner emotional worlds. She often portrays unguarded moments where her subject is made vulnerable to the viewer’s gaze, however, her decision to omit the face in most of her work allows the viewer to participate without shame or self-consciousness in the subject’s distress.

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\n“I think the openings in the body are where shame happens, but you always cover it. There are all these rules about all the openings in the body, right? Like, things leaking out—that can’t happen. That’s really interesting to me, just the body out of control, or things happening to the body and how you would react to it.”
\n— Louise Bonnet

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The Velour Jumpsuit provides a glimpse into a surreal world where the subject’s absurdly exposed organ reveals their susceptibility to embarrassment and shame. The image is cropped so all that is visible is the jumpsuit from neck to groin, and the focus on this seemingly innocuous article of clothing implies the subject’s metaphorical nakedness and vulnerability. The digestive organ’s unprotected state betrays the subject’s lack of containment or control over their own body, a recurring theme in Bonnet’s oeuvre.

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The Beautiful, the Cartoonish, and the Grotesque

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Bonnet began to use oil paint for the first time in 2013 and found that its flexibility and versatility allowed her to manipulate light and shadow to create volume. This transition from the compositional flatness of acrylics led her to produce canvases with greater depth and dimensionality that call to mind the work of Renaissance Masters such as Lucas Cranach the Elder.

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\"\" — Lucas Cranach the Elder, *Judith with the Head of Holofernes*, c. 1530
\nCollection of the Metropolitan Museum of Art, New York
\nImage: © The Metropolitan Museum of Art, Rogers Fund, 1911, 11.15

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Adopting the visual tools of the Renaissance masters, Bonnet uses the magic of beauty as a vehicle to expose the horrible and grotesque in her work. In The Velour Jumpsuit, the viewer is caught off guard by the aesthetic charm of the velvety suit and its luminous backdrop. The fluid rendering of the creases in the fabric, which appears luxuriously soft to the touch, is at odds with the arresting appearance of the internal organ outside the body. The symmetry and elegance of the velour suit belie the gut that hangs bizarrely in the middle of the canvas.

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“The beauty is a tool to get to the real thing. Or maybe it’s an entryway. In a way, it’s a trick. In [Alfred] Hitchcock, for example, everything is really beautiful, right? The hair, and the color, and everyone looks great. And that sort of tricks you into trusting where he’s leading you. And then he just collapses that. It’s kind of like magic. You can be so much more horrified if you’re led into something thinking you can trust it.”
\n— Louise Bonnet

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Bonnet approaches the absurd and grotesque through a unique blend of the beauty and stateliness of chiaroscuro and the cartoon-like quality of satirical art. Fascinated with horror films, she masterfully marries beauty and comedy with the frightful. Skillfully mingling beauty, humor, and fear, Bonnet’s Velour Jumpsuit provides a powerful reminder that our corporeality is part of what it means to be alive.

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Collector’s Digest

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Born in Geneva in 1970, Bonnet studied at Haute école d’art et de design and began her creative career working in graphic design and illustration. In 2008 she launched her painting career with a solo exhibition at Subliminal Projects in Los Angeles. Her recent exhibitions include Onslaught (31 May – 6 August 2022), at Gagosian in Hong Kong in 2022, her first solo show in Asia, Bathers at Galerie Max Heltzer in Paris (11 September – 30 October 2021), marking her French debut, and The Hours at Gagosian in New York City (29 September – 7 November 2020). Bonnet was also included in The Milk of Dreams at the Venice Biennale in 2022.
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Bonnet’s work can also be found in the permanent collections of Yuz Foundation, Shanghai; Los Angeles County Museum of Art; the San Fransisco Museum of Modern Art; Hammer Museum, Los Angeles, and Brandhorst Museum, Munich, among others.
\n\t

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奈良美智 《尋找寶藏》， 1995年作\n估價待詢\n二十世紀及當代藝術晚間拍賣, 3月30日

Yoshitomo Nara, Lookin' for a Treasure, 1995\nEstimate on Request\n20th Century & Contemporary Art Evening Sale, 30 March

1995年藝術覺醒：奈良美智的轉捩點

奈良的音樂世界

黃色的魅力

奈良美智，《尋找寶藏》》，1995年作（局部）\n估價待詢 \n二十世紀及當代藝術晚間拍賣， 3月30日

神祕境界：藝術家的靈性進化

奈良美智,《無題（破碎的寶物）》,1995年作\n壓克力畫布 150 x 150 公分\n德島現代美術館納入永久收藏\nArtwork: © Yoshitomo Nara

奈良美智，《尋找寶藏》，1995年作\n壓克力 畫布, 120 x 110 公分\n是次拍品

奈良之旅：靜水蕩漾

\n二十世紀及當代藝術晚間拍賣

\n二十世紀及當代藝術日間拍賣

An Artistic Awakening: Nara’s Momentous Year of 1995

Rock and Roll: Fuelling His Creative Fire

The Allure of Yellow

Yoshitomo Nara, Lookin' for a Treasure, 1995 (detail) \nEstimate on Request \n20th Century & Contemporary Art Evening Sale, 30 March

The Mystical Realm: The Artist's Spiritual Evolution

Yoshitomo Nara, Untitled (Broken Treasure), 1995\nacrylic on canvas, 150 x 150 cm\nCollection of The Tokushima Modern Art Museum\nArtwork: © Yoshitomo Nara

Yoshitomo Nara, Lookin’ for a Treasure, 1995\nacrylic on canvas, 120 x 110 cm.\nThe present lot

Nara’s Journey: Ripples in Tranquil Waters

20th Century & Contemporary Art Evening Sale

20th Century & Contemporary Art Day Sale

\n草間彌生是史上最高拍賣成交紀錄的在世女藝術家

草間彌生，《無題（網）》，1959年作\n成交價10,496,000美元\n富藝斯與永樂拍賣聯合呈獻 「二十世紀及當代藝術」晚間拍賣，2022年5月

\n她自願入住東京的精神病院

\n她終生厭性，卻代表著自由的愛

草間彌生位處1965年的無限房間《陽具的領域》\nImage: Eikoh Hosoe/Courtesy of Ota Fine Arts, Tokyo/Singapore; Victoria Miro, London; David Zwirner, New York

草間彌生， 《無題》，1965年作\n估價1,600,000 - 2,600,000 港元\n二十世紀及當代藝術日間拍賣，3月31日

\n草間彌生的《南瓜》與安迪．沃荷的《湯罐》並駕齊驅

草間家族在日本松本市所擁有的苗圃花田\nImage: © YAYOI KUSAMA

草間彌生，《南瓜》，1995年作\n估價40,000,000 - 50,000,000 港元\n二十世紀及當代藝術晚間拍賣，3月30日

草間彌生，《南瓜》，1991年作\n估價3,500,000 - 5,500,000港元\n二十世紀及當代藝術日間拍賣，3月31日

\n與路易威登合作之前，她已是一位時尚達人

草間彌生，《無題》（出自〈壓迫意象展〉之人體模型），1966年作\n估價1,500,000 - 2,300,000港元\n二十世紀及當代藝術晚間拍賣，3月30日

草間彌生，《女孩子們》，2004年作\n估價800,000 - 1,200,000港元\n二十世紀及當代藝術日間拍賣，3月31日

\n她用波點來忘憂解困

草間彌生，《無限的點（HTI）》，2001年作\n估價25,000,000 - 30,000,000港元\n二十世紀及當代藝術晚間拍賣，3月30日

\n香港M+博物館現正舉辦日本以外亞洲最大規模的草間彌生回顧展

草間彌生，《南瓜西洋棋》，2003年作\n估價2,200,000 - 3,200,000 港元\n二十世紀及當代藝術日間拍賣，3月31日

草間彌生， 《真晝》， 1983年作\n估價500,000 - 700,000 港元\n二十世紀及當代藝術日間拍賣，3月31日

\n二十世紀及當代藝術晚間拍賣

\n二十世紀及當代藝術日間拍賣

Yayoi Kusama is the most expensive living female artist

Yayoi Kusama, Untitled (Nets), 1959\nsold for US$10,496,000 at Phillips’ 20th Century & Contemporary Art Evening Sale\nMay 2022, New York\n

She lives in a psychiatric facility in Tokyo, voluntarily

She's had a lifelong aversion to sex - but represented free love

Yayoi Kusama in her Phalli's Field infinity room in 1965.\nImage: Eikoh Hosoe/Courtesy of Ota Fine Arts, Tokyo/Singapore; Victoria Miro, London; David Zwirner, New York

Yayoi Kusama, Untitled, 1965\nEstimate HK$ 1,600,000 - 2,600,000\n20th Century & Contemporary Art Day Sale, 31 March

Kusama's pumpkins give Warhol's soup cans a run for their money

A flower field in the seed nursery owned by Yayoi Kusama’s family in Matsumoto, Japan.\nImage: © YAYOI KUSAMA

Yayoi Kusama, Pumpkin, 1995\nEstimate HK$ 40,000,000 - 50,000,000\n20th Century & Contemporary Art Evening Sale, 30 March

Yayoi Kusama, Pumpkin, 1991\nEstimate HK$ 3,500,000 - 5,500,000\n20th Century & Contemporary Art Day Sale, 31 March

She was a fashionista well before her Louis Vuitton collaborations

Yayoi Kusama, Untitled (Mannequin from The Driving Image Show), 1966\nEstimate HK$1,500,000 - 2,300,000\n20th Century & Contemporary Art Evening Sale, 30 March

Yayoi Kusama, The Girls, 2004\nEstimate HK$ 800,000 - 1,200,000\n20th Century & Contemporary Art Day Sale, 31 March

She used polka dots to get out of her head

Yayoi Kusama, Infinity Dots (HTI), 2001\nEstimate HK$ 25,000,000 - 30,000,000\n20th Century & Contemporary Art Evening Sale, 30 March

Yayoi Kusama, Pumpkin Chess Set, 2003\nEstimate HK$ 2,200,000 - 3,200,000 \n20th Century & Contemporary Art Day Sale, 31 March

Yayoi Kusama, Daytime, 1983\nEstimate HK$500,000 - 700,000\n20th Century & Contemporary Art Day Sale, 31 March

安迪．沃荷為《Glamour》雜誌創作的首份插畫作品。Image courtesy of Glamour Magazine.

安迪．沃荷，《華麗金黃便鞋》，《Life》雜誌，1957年\nImage courtesy of Life Magazine.

安迪．沃荷，《救生圈》（出自《廣告》系列），1985年作\n估價4,500,000 - 6,500,000 港元\n二十世紀及當代藝術晚間拍賣，3月30 日

安迪．沃荷，復古Life Saver 雜誌廣告，1950年代

安迪．沃荷，《美孚汽油》（出自《廣告》系列），1985年作\n估價3,000,000 - 5,000,000 港元\n二十世紀及當代藝術晚間拍賣，3月30 日

安迪．沃荷，《派拉蒙影業》（出自《廣告》系列)，1985年作\n估價3,000,000 - 5,000,000 港元\n二十世紀及當代藝術晚間拍賣，3月30 日

安迪．沃荷， 《無題（大眾檸檬）》(出自《廣告》系列)，1985年作\n估價 4,000,000 - 6,000,000 港元\n二十世紀及當代藝術晚間拍賣，3月30 日

安迪．沃荷，復古福斯汽車廣告，1960年-1968 年

\n二十世紀及當代藝術晚間拍賣

\n二十世紀及當代藝術日間拍賣

Andy Warhol’s first illustration assignment for Glamour magazine.\nImage courtesy of Glamour Magazine

Andy Warhol, Crazy Gold Slippers, Life Magazine, 1957.\nImage courtesy of Life Magazine

Andy Warhol Life Savers from the series Ads ,1985\nEstimate HK$4,500,000 - 6,500,000 \n20th Century & Contemporary Art Evening Sale, 30 March

Vintage Life Saver, 1950s. Magazine advertisement

Andy Warhol ,Mobilgas from the series Ad,1985\nEstimate HK$3,000,000 - 5,000,000\n20th Century & Contemporary Art Evening Sale, 30 March

Andy Warhol, Paramount from the series Ad, 1985\nEstimate HK$3,000,000 - 5,000,000 \n20th Century & Contemporary Art Evening Sale, 30 March

Andy Warhol, Untitled (Volkswagen Lemon) from the series Ads,1985\nEstimate HK$4,000,000 - 6,000,000 \n20th Century & Contemporary Art Evening Sale, 30 March

Peculiar Bodies, Uncomfortable Minds

The Beautiful, the Cartoonish, and the Grotesque

Collector’s Digest

奈良美智《尋找寶藏》， 1995年作
\n估價待詢
\n二十世紀及當代藝術晚間拍賣, 3月30日

Yoshitomo Nara, Lookin' for a Treasure, 1995
\nEstimate on Request
\n20th Century & Contemporary Art Evening Sale, 30 March

奈良美智，《尋找寶藏》》，1995年作（局部）
\n估價待詢
\n二十世紀及當代藝術晚間拍賣， 3月30日

奈良美智,《無題（破碎的寶物）》,1995年作
\n壓克力畫布 150 x 150 公分
\n德島現代美術館納入永久收藏
\nArtwork: © Yoshitomo Nara

奈良美智，《尋找寶藏》，1995年作
\n壓克力畫布, 120 x 110 公分
\n是次拍品

Yoshitomo Nara, Lookin' for a Treasure, 1995 (detail)
\nEstimate on Request
\n20th Century & Contemporary Art Evening Sale, 30 March

Yoshitomo Nara, Untitled (Broken Treasure), 1995
\nacrylic on canvas, 150 x 150 cm
\nCollection of The Tokushima Modern Art Museum
\nArtwork: © Yoshitomo Nara

Yoshitomo Nara,  Lookin’ for a Treasure, 1995
\nacrylic on canvas, 120 x 110 cm.
\nThe present lot

草間彌生，《無題（網）》，1959年作
\n成交價10,496,000美元
\n富藝斯與永樂拍賣聯合呈獻「二十世紀及當代藝術」晚間拍賣，2022年5月

草間彌生位處1965年的無限房間《陽具的領域》
\nImage: Eikoh Hosoe/Courtesy of Ota Fine Arts, Tokyo/Singapore; Victoria Miro, London; David Zwirner, New York

草間彌生，《無題》，1965年作
\n估價1,600,000 - 2,600,000 港元
\n二十世紀及當代藝術日間拍賣，3月31日

草間家族在日本松本市所擁有的苗圃花田
\nImage: © YAYOI KUSAMA

草間彌生，《南瓜》，1995年作
\n估價40,000,000 - 50,000,000 港元
\n二十世紀及當代藝術晚間拍賣，3月30日

草間彌生，《南瓜》，1991年作
\n估價3,500,000 - 5,500,000港元
\n二十世紀及當代藝術日間拍賣，3月31日

草間彌生，《無題》（出自〈壓迫意象展〉之人體模型），1966年作
\n估價1,500,000 - 2,300,000港元
\n二十世紀及當代藝術晚間拍賣，3月30日

草間彌生，《女孩子們》，2004年作
\n估價800,000 - 1,200,000港元
\n二十世紀及當代藝術日間拍賣，3月31日

草間彌生，《無限的點（HTI）》，2001年作
\n估價25,000,000 - 30,000,000港元
\n二十世紀及當代藝術晚間拍賣，3月30日

草間彌生，《南瓜西洋棋》，2003年作
\n估價2,200,000 - 3,200,000 港元
\n二十世紀及當代藝術日間拍賣，3月31日

草間彌生，《真晝》， 1983年作
\n估價500,000 - 700,000 港元
\n二十世紀及當代藝術日間拍賣，3月31日

Yayoi Kusama, Untitled (Nets), 1959
\nsold for US$10,496,000 at Phillips’ 20^th Century & Contemporary Art Evening Sale
\nMay 2022, New York
\n

Yayoi Kusama in her Phalli's Field infinity room in 1965.
\nImage: Eikoh Hosoe/Courtesy of Ota Fine Arts, Tokyo/Singapore; Victoria Miro, London; David Zwirner, New York

Yayoi Kusama, Untitled, 1965
\nEstimate HK$ 1,600,000 - 2,600,000
\n20th Century & Contemporary Art Day Sale, 31 March

A flower field in the seed nursery owned by Yayoi Kusama’s family in Matsumoto, Japan.
\nImage: © YAYOI KUSAMA

Yayoi Kusama, Pumpkin, 1995
\nEstimate HK$ 40,000,000 - 50,000,000
\n20th Century & Contemporary Art Evening Sale, 30 March

Yayoi Kusama, Pumpkin, 1991
\nEstimate HK$ 3,500,000 - 5,500,000
\n20th Century & Contemporary Art Day Sale, 31 March

Yayoi Kusama, Untitled (Mannequin from The Driving Image Show), 1966
\nEstimate HK$1,500,000 - 2,300,000
\n20th Century & Contemporary Art Evening Sale, 30 March

Yayoi Kusama, The Girls, 2004
\nEstimate HK$ 800,000 - 1,200,000
\n20th Century & Contemporary Art Day Sale, 31 March

Yayoi Kusama, Infinity Dots (HTI), 2001
\nEstimate HK$ 25,000,000 - 30,000,000
\n20^th Century & Contemporary Art Evening Sale, 30 March

Yayoi Kusama, Pumpkin Chess Set, 2003
\nEstimate HK$ 2,200,000 - 3,200,000
\n20th Century & Contemporary Art Day Sale, 31 March

Yayoi Kusama, Daytime, 1983
\nEstimate HK$500,000 - 700,000
\n20th Century & Contemporary Art Day Sale, 31 March

安迪．沃荷，《華麗金黃便鞋》，《Life》雜誌，1957年
\nImage courtesy of Life Magazine.

安迪．沃荷，《救生圈》（出自《廣告》系列），1985年作
\n估價4,500,000 - 6,500,000 港元
\n二十世紀及當代藝術晚間拍賣，3月30 日

安迪．沃荷，《美孚汽油》（出自《廣告》系列），1985年作
\n估價3,000,000 - 5,000,000 港元
\n二十世紀及當代藝術晚間拍賣，3月30 日

安迪．沃荷，《派拉蒙影業》（出自《廣告》系列)，1985年作
\n估價3,000,000 - 5,000,000 港元
\n二十世紀及當代藝術晚間拍賣，3月30 日

安迪．沃荷，《無題（大眾檸檬）》(出自《廣告》系列)，1985年作
\n估價 4,000,000 - 6,000,000 港元
\n二十世紀及當代藝術晚間拍賣，3月30 日

Andy Warhol’s first illustration assignment for Glamour magazine.
\nImage courtesy of Glamour Magazine

Andy Warhol, Crazy Gold Slippers, Life Magazine, 1957.
\nImage courtesy of Life Magazine

Andy Warhol Life Savers from the series Ads ,1985
\nEstimate HK$4,500,000 - 6,500,000
\n20^th Century & Contemporary Art Evening Sale, 30 March

Andy Warhol ,Mobilgas from the series Ad,1985
\nEstimate HK$3,000,000 - 5,000,000
\n20^th Century & Contemporary Art Evening Sale , 30 March

Andy Warhol, Paramount from the series Ad, 1985
\nEstimate HK$3,000,000 - 5,000,000
\n20^th Century & Contemporary Art Evening Sale, 30 March

Andy Warhol, Untitled (Volkswagen Lemon) from the series Ads,1985
\nEstimate HK$4,000,000 - 6,000,000
\n20^th Century & Contemporary Art Evening Sale, 30 March

4

Louise Bonnet

The Velour Jumpsuit

Further Details

Full-Cataloguing

Louise Bonnet