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\n\n

Auction 4 December 11am HKT

\n\n

JW Marriott Hotel Hong Kong
\n88 Queensway, Admiralty, Hong Kong (map)

\n\n

Highlights Preview 26 – 27 Nov

\n\n

Viewing 28 Nov – 3 Dec

\n\n

International Tour

\n\n

Beijing

\n\n

6 – 7 Nov

\n\n

The Time Museum

\n\n

No.298 Gulou East Street, Dongcheng District, Beijing

\n\n

Shanghai

\n\n

12 – 15 Nov

\n\n

Shanghai Exhibition Center
\nNo.1000 Yan'an Middle Road, Jing'an District, Shanghai

\n\n

shanghaioffice@phillips.com

\n\n

Shenzhen

\n\n

17 – 18 Nov

\n\n

T7, One Shenzhen Bay

\n\n

3008 Zhongxin Road, Nanshan District,
\nShenzhen, Guangdong

\n\n

Taichung

\n\n

19 Nov

\n\n

Fong-Yi Art Gallery
\nB1, No. 110, Sec. 1, Wuquan W. Rd., West Dist., Taichung City. Taiwan

\n\n

taiwanoffice@phillips.com

\n\n

Taipei

\n\n

21 – 22 Nov

\n\n

B1 Art Gallery, Bellavita, No.28, Songren Rd.
\nXinyi District, Taipei

\n\n

taiwanoffice@phillips.com

\n\n

Visit Poly Hong Kong Official Website: https://www.polyauction.com.hk/en/

\n\n

\n","auctionDetailsSmall","Hong Kong Auction 4 December 2020","extraInfo","

Danielle So
\nAssociate Specialist, Head of Day Sale

\n","enableHighlightsView","enableOnlineCatalogue","endSale",true,"hideSoldLots","isChineseTranslate","isExhibition","isLiveAuction","isMixedAuction","makeLive","showAdvanceBidButton","showArtCollector","showBuyButton","showCatalogueDownloadLink","showInquireButton","showPrintCatalogueSection","showRegistrationLink","showSaleOffers","showSoldPrice","lots",[303,304,305,306,307,308,309,310,311,312,313,314,315,316,317,318,319,320,321,322,323,324,325,326,327,328,329,330,331,332,333,334,335,336,337,338,339,340,341,342,343,344,345,346,347,348,349,350,351,352,353,354,355,356,357,358,359,360,361,362,363,364,365,366,367,368,369,370,371,372,373,374,375,376,377,378,379,380,381,382,383,384,385,386,387,388,389,390,391,392,393,394,395,396,397,398,399,400,401,402,403,404,405,406,407,408,409,410,411,412,413,414,415,416,417,418,419,420,421,422,423,424,425,426,427,428,429,430,431,432,433,434,435,436,437,438,439,440,441,442,443,444,445,446,447,448],"articles",[169,170,171,172,173,174,175,176,177,178,179],"departments",[159,160],"auctionCurrency",{"_156":72,"_157":158},"totalLotCount",146,"auctionMobilityAuctionRowId","1-3RGCEB","auctionUrl","https://www.phillips.com/auction/HK010420","currencyCode","currencySign","HK$",{"_161":166,"_163":167,"_165":168},{"_161":162,"_163":164,"_165":164},"departmentId",3,"departmentName","Design","departmentDisplayName",1,"Contemporary","Modern & Contemporary Art",{"_180":294,"_182":168,"_183":295,"_16":296,"_186":297,"_188":298,"_219":231,"_190":191,"_192":193,"_194":299,"_196":193,"_198":300,"_200":301,"_202":302},{"_180":285,"_182":168,"_183":286,"_16":287,"_186":288,"_188":289,"_219":220,"_190":191,"_192":193,"_194":290,"_196":166,"_198":291,"_200":292,"_202":293},{"_180":275,"_182":168,"_183":276,"_16":277,"_186":278,"_188":279,"_219":231,"_190":191,"_192":193,"_194":280,"_196":281,"_198":282,"_200":283,"_202":284},{"_180":266,"_182":168,"_183":267,"_16":268,"_186":269,"_188":270,"_219":220,"_190":191,"_192":193,"_194":271,"_196":162,"_198":272,"_200":273,"_202":274},{"_180":257,"_182":168,"_16":258,"_186":259,"_188":260,"_219":220,"_190":191,"_192":193,"_194":261,"_196":262,"_198":263,"_200":264,"_202":265},{"_180":247,"_182":168,"_183":248,"_16":249,"_186":250,"_188":251,"_219":231,"_190":191,"_192":193,"_194":252,"_196":253,"_198":254,"_200":255,"_202":256},{"_180":237,"_182":168,"_183":238,"_16":239,"_186":240,"_188":241,"_219":220,"_190":191,"_192":193,"_194":242,"_196":243,"_198":244,"_200":245,"_202":246},{"_180":226,"_182":168,"_183":227,"_16":228,"_186":229,"_188":230,"_219":231,"_190":191,"_192":193,"_194":232,"_196":233,"_198":234,"_200":235,"_202":236},{"_180":214,"_182":168,"_183":215,"_16":216,"_186":217,"_188":218,"_219":220,"_190":191,"_192":193,"_194":221,"_196":222,"_198":223,"_200":224,"_202":225},{"_180":204,"_182":168,"_183":205,"_16":206,"_186":207,"_188":208,"_190":191,"_192":193,"_194":209,"_196":210,"_198":211,"_200":212,"_202":213},{"_180":181,"_182":168,"_183":184,"_16":185,"_186":187,"_188":189,"_190":191,"_192":193,"_194":195,"_196":197,"_198":199,"_200":201,"_202":203},"coverUrl","https://flockler.com/thumbs/sites/889/20201128_111-1f38db89-02ed-4a27-ae27-1662bb452713_s600x0.jpg","section","summary","Join us for a virtual walkthrough from the JW Marriott Hotel of our Hong Kong 20th Century & Contemporary Art Sales, in association with Poly Auction. On view: Jean-Michel Basquiat, Yayoi Kusama, Yoshitomo Nara, KAWS, and more.","VR Walkthrough: 20th Century & Contemporary Art, Hong Kong","body","

Travel through our Hong Kong 20th Century & Contemporary Art auction preview at the JW Marriott Hotel, and browse highlights from our upcoming auction.

\n\n

Featuring sought-after works by Jean-Michel Basquiat, Gerhard Richter, Banksy, Zao Wou-Ki, Tomoo Gokita, Yayoi Kusama, Yoshitomo Nara, Genieve Figgis, KAWS, Matthew Wong, Emily Mae Smith, and more.

\n\n

Our 20th Century & Contemporary Art Evening Sale and 20th Century & Contemporary Art and Design Day Sale, in association with Poly Auction, will take place 3-4 December at the JW Mariott Hotel in Hong Kong.

\n","publishDate","2020-11-28T20:59:36.000000Z","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/67042596/vr-walkthrough-20th-century-and-contemporary-art-hong-kong-2","displayOrder",10,"auctionEditorialID",1074,"editorialID",3319,"flocklerID",67042596,"https://flockler.com/thumbs/sites/889/dsc_8880-5f7ef06c-f726-40ff-9d70-7de3e14d0358_s600x0.jpg","Join us for a virtual walkthrough from Taipei of our Hong Kong 20th Century & Contemporary Art Sales, in association with Poly Auction. On view: Tomoo Gokita, Yayoi Kusama, Genieve Figgis, KAWS, and more.","VR Walkthrough: 20th Century & Contemporary Art, Taipei","

Travel through our Hong Kong 20th Century & Contemporary Art international preview in Taipei and browse highlights from our upcoming auction.

\n\n

Featuring sought-after works by Tomoo Gokita, Yayoi Kusama, Yoshitomo Nara, Genieve Figgis, KAWS, Matthew Wong, Emily Mae Smith, and more.

\n\n

\n","2020-11-21T15:27:45.000000Z","https://www.phillips.com/article/66526891/vr-walkthrough-20th-century-and-contemporary-art-hong-kong-1",9,1039,3300,66526891,"https://flockler.com/thumbs/sites/889/matthew-wong_river-at-dusk-03d19d51-5f55-4207-a078-64039cdf8169_s600x0.jpg","藝術家透過豐富想像力以構圖色彩展現眼前景物，帶領觀者進入難以分辨虛擬與現實的色彩世界。","風景與想像——藝術家眼中的超凡景色","

\n\n

風景畫不一定要精準無誤地把一草一木也描繪出來，藝術家透過豐富想像力以構圖色彩展現眼前事物，抽象細緻的筆觸勾畫出浪漫景色，盛載著的可能是一個旅程回憶，又或者是隨經歷建立的世界觀。將於12月3和4日舉行的二十世紀及當代藝術晚間拍賣和二十世紀及當代藝術和設計日間拍賣，呈獻多幅由不同年代藝術家創作、同樣以風景為主題的作品。當中包括王俊傑和盧卡斯·阿魯達超脫凡塵的自然風景，中國當代藝術家劉韡的標誌式「線條」城市面貌，以及大師趙無極和朱德群令人聯想到中國傳統山水的抽象景色，以不同風格帶領觀者進入難以分辨虛擬與現實的色彩世界。

\n\n

靜謐奇境
\n

\n\n

被《紐約時報》譽為「與其同時代最有才華的畫家之一」的王俊傑，以夢境般的靜物畫俘獲觀者的心，《夕陽之河》創作於藝術家逝世前一年，描繪了兩岸枝葉蔥鬱的河流在黃昏時分的浪漫景象，展現藝術家想像世界中靜謐的奇境。王俊傑將畫筆划過畫布，用稀薄和濃稠的條狀繪出擁有平坦圖像感的天空與河，又用長短不一的筆觸捕捉住自然的光效，然後用細小、點畫的筆觸編織出綠葉中細密的圖案。通過熱烈的畫筆揮灑，《夕陽之河》不但重現了戶外寫生的隨性和畫意，更將藝術家內心空靈的世界呈現於畫布之上，王俊傑利用疏鬆的形式和毫無掩飾的筆觸傳遞出自然風景的靈性和超脫。

\n\n

\n\n

王俊傑 (Matthew Wong)《美好的一天》2017年作，壓克力畫布，60.9x50.8公分。
\n估價500,000-700,000 港元。拍品101，二十世紀及當代藝術和設計日間拍賣。
\nMatthew Wong's One Fine Day. Copyright © [2017] Monita K.Y. Cheng

\n\n

於日間拍賣呈獻的王俊傑作品《美好的一天》同樣明豔綺麗，繼承了現代主義傳統，而王俊傑直覺式的繪畫方式更創造出的彷彿觸手可及的夢之風景，超越了任何風格的定義。《美好的一天》正是對想像和熟悉的空間的一種沈思，展現了藝術家在移居加拿大埃德蒙頓鄉下進行創作時的日常生活，但或許它影射的正是王俊傑逃開自己內心的惡魔，找到了臨時的避風港。王俊傑洋溢的色彩總「帶著一絲憂鬱的嚮往」，他有時會在畫中放置一個孤單的人物，在此作品中我們可看到張開手臂躺在山坡上的人形，使畫面瀰漫著不詳的弦外之音。

\n\n

大自然浪漫主義

\n\n

盧卡斯·阿魯達（Lucas Arruda）是現時備受國際矚目的巴西藝術家，近年來參加了許多大型的國際性展覽，作品獲得許多國際知名美術館的收藏，於中國上海的個展也將於今年11月登場。藝術家備受讚譽的風景及海景畫中的景象皆來自腦海，不帶有任何特定的視角，對混沌卻熟悉的景色描繪是對時間的深思，不但引領觀者沈溺於大自然浪漫主義的宏偉之中，更促使我們將自己的個人經歷和記憶帶到作品內。

\n\n

《無題》出自藝術家經典的《沙漠-模型》系列，為藝術家目前拍場上出現的最大尺幅作品之一，吸引觀者近距離欣賞他在此作品中精心筆觸下的線條，好像黎明抑或黃昏時的地平線。本作品處於抽象和具象交集的張力之間，巧妙地體現了聖保羅藝術家盧卡斯·阿魯達對繪畫這一媒介中所縈繞的感官氛圍的探索。迄今在全球拍賣市場中出現過的《沙漠 - 模型》系列作品僅少於10件，而本次拍賣所呈現的作品是藝術家鮮有的進入拍場之絕妙佳作。

\n\n

\n\n

盧卡斯·阿魯達(Lucas Arruda)《無題》2013年作，油彩畫布，50x60公分。
\n估價1,500,000 - 2,500,000港元。拍品29，二十世紀及當代藝術晚間拍賣。

\n\n

城市秩序
\n

\n\n

劉韡無論是在作品的創作、思考還是感受，都帶來與之前的世代渾然不同的時間、空間感。他的繪畫充滿了多層次的複雜性，擅長利用嚴謹的構圖與和諧色彩向觀者展示難以用語言所表達出的城市景觀和秩序之美。創作於2010年的《風景》取材於生活中常見的場景，劉韡採用經過放大的電腦精確製作的圖像，然後根據放大而產生的新像素來重新調整排列，重組線性在畫面上的表現，將光影、邊界抽象化，這使得畫面似曾相識卻又冷漠疏離，令人難以分辨虛擬與現實。

\n\n

\n\n

劉韡《風景》2010年作，油彩畫布公分，180 x 221。
\n估價550,000 - 750,000港元。拍品129，二十世紀及當代藝術和設計日間拍賣。

\n\n

在《紫氣四第4號》中，深紅色背景前由黑白兩色堆砌組成的柱狀被黃、藍、紫和紅色條塊所切割，而籠罩著的灰蒙蒙的空氣則象徵著這座首都城市的嚴重空氣污染。然而該系列實則更具一層祥瑞的含義，源自中國文化中的「紫氣東來」一說。

\n\n

\n
「城市是現實；中國是一個正在建築中的城市，畢竟也影響了我。」
\n—劉韡
\n

\n\n

\n\n

劉韡《紫氣四第4號》 2007年作。油彩畫布，300 x 180 cm。
\n估價 1,600,000 - 3,000,000 港元。拍品13，二十世紀及當代藝術晚間拍賣。

\n\n

\n

\n\n

光線律動
\n

\n\n

在藝術史上佔有舉足輕重的地位，朱德群對中國古典繪畫和西方抽象無與倫比的結合讓他享譽國際。1955年移居巴黎後，受到法國藝術家尼古拉·德·斯塔埃爾及其厚塗畫法的抽象風景的啟發，朱德群放棄了具象繪畫，轉向了抽象的創作。《1981年3月30日》彰顯了朱德群對法國抒情抽象風格與中國哲學思維的成功結合，以及他在1980年代的風格演變，將觀者帶入其隨筆觸舞動的韻律和色彩明麗閃爍的光線之中。

\n\n

《1981年3月30日》為朱德群1980年代風格發展的典範。藝術家將他對中國水墨畫的探索、結合油畫方法的拓展，為作品帶來了意義重大的轉變，畫面明顯變得愈發輕盈和空靈。同時，朱德群在其1980年代的作品中巧妙地渲染光線，通過精湛的明暗對照製造出光影流轉的效果，增添了此幅繪畫的壯麗，創造了一種與自然交流的的神聖氛圍。畫作以白、灰、藍、和棕色調呈現出凌空飛旋的景象，白色的厚彩撞擊著赭色和藍色的筆觸，勾勒出層巒疊嶂的山峰形態，與上空激盪而戲劇性的筆觸律動融為一體，閃耀的黃、藍、綠色光芒刺穿迷霧，彷若身居山中騰雲駕霧觀看世界物象之變幻萬千。

\n\n

\n\n

© Chu Teh-Chun / ADAGP, Paris - SACK, Seoul, 2020
\n朱德群《1981年3月30日》1981年作，油彩畫布，160.5 x 80.3公分。
\n估價5,500,000 - 7,500,000港元。拍品23，二十世紀及當代藝術晚間拍賣。

\n\n

\n\n

© Chu Teh-Chun / ADAGP, Paris - SACK, Seoul, 2020
\n朱德群《構圖65號》 1960年作。油彩畫布，145.4 x 89.2 cm 。
\n估價15,00,000 - 20,000,000 港元。拍品22，二十世紀及當代藝術晚間拍賣。

\n\n

\n\n

© Chu Teh-Chun / ADAGP, Paris - SACK, Seoul, 2020
\n朱德群《Serin》1990年作。油彩畫布，162 x 130 cm。
\n估價3,000,000 - 5,000,000港元。拍品214，二十世紀及當代藝術晚間拍賣。

\n\n

自然韻律
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趙無極是世界上最著名的中國現代藝術家之一，1970年代初，他在朋友、詩人亨利‧米修的建議下，放下了大尺幅作品重新開始探索中國的水墨和宣紙。一部分原因是為了照顧臥病在床的陳美琴，另一部分則是出自藝術家自己內心的動盪和對於尋找新的藝術出口的渴望，於是趙無極重新拾起了早年接受訓練的中國繪畫，這一契機也終成為他後來繪畫上轉變的關鍵因素。

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在《14.06.73》中可以看到，沾滿墨汁的畫筆在捲軸上採用書法中「飛白」的筆法，呈現了其勢若飛之狀，以及畫面中央運用「皴法」的技法所形成的山水明暗和脈絡的效果，展現了趙無極對中國書法傳統之道的精通。細看《14.06.73》，會讓人想起翠綠的風景；陽光普照的天空中變幻的圖案；炎熱夏日裡茂盛掩映的樹葉。趙無極的靈感來源之廣，讓人不難發現其中有著宋代古典山水的痕跡。

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© 2020, ProLitteris, Zurich
\n趙無極《14.06.73》1973年作。油彩畫布，99.5 x 81.2公分。
\n估價10,000,000 - 16,000,000港元。拍品21，二十世紀及當代藝術晚間拍賣。

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除了以上提及的焦點外，「二十世紀及當代藝術和設計」拍賣亦呈獻東西方藝術大師名作以及一眾首次亮相亞洲拍場的藝壇新星作品，令人萬眾期待。

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富藝斯與保利拍賣聯合舉行二十世紀及當代藝術晚間拍賣

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JW 萬豪酒店 | 12月3日

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富藝斯與保利拍賣聯合舉行二十世紀及當代藝術和設計日間拍賣

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JW 萬豪酒店 | 12月4日

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相關專題

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6位女性藝術家，6種獨特視覺語言

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奈良美智的暗黑與歡快

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\n","2020-11-19T08:57:04.000000Z","authorCredit","Veronica Chow","https://www.phillips.com/article/66412101/landscape-reimagined-tca-cn",8,1066,3297,66412101,"https://flockler.com/thumbs/sites/889/148743_uc329539-1-9f4b35d6-346e-4779-9ead-44413d97fa2f_s600x0.png","Be enthralled by a painterly world which bends the boundaries between virtuality and reality. ","The Art of Scenery","

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Dating back to the seventeenth century when the term “landscape” was coined as a term for this style of artwork, it has since become one of the most coveted art genres. It is unsurprising that landscape art has remained one of the most popular themes in paintings, as it resonates with a wide audience. Defined by the artistic genre focusing on natural surroundings, many artists continue to use scenes of nature as a way to tell stories, illustrate ideas, or conceptualize metaphors. Being intrinsically drawn to its calming and peaceful nature, people of all walks of life throughout history relate to the subject matter, be it artist or appreciator.

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In our upcoming 20^th Century and Contemporary Art Evening and Day sale, Phillips has curated a series of works in the style of landscape that crosses cultures and eras – a collection that emphasizes emotions and individualism through the glorification of nature – ranging from the ethereal style of more recent works of the late Matthew Wong to the abstract interpretations by Chinese grandmaster Zao Wou Ki.

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Tranquil Wonderland
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Dubbed ‘one of the most talented painters of his generation’ by The New York Times, the late Chinese-Canadian artist Matthew Wong’s works have captivated audiences worldwide with his dreamlike landscapes and still lifes. River at Dusk is an enthralling work depicting a romantic river scene lined with lush foliage at golden hour. Executed a year before the artist’s untimely passing, the work offers an immersive experience into the contemplative wonderlands that exist in the artist’s imagination. Recreating the spontaneity and painterly approach of plein air painters with frenetic brushstrokes, in River at Dusk, Wong animates the ethereal worlds in his mind, conveying the spiritual and ephemeral qualities of natural landscapes through loosely defined forms and unconcealed brushwork.

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Matthew Wong One Fine Day, 2017. 20th Century & Contemporary Art and Design Day Sale, Hong Kong.
\nEstimate: 500,000 - 700,000. Copyright © [2017] Monita K.Y. Cheng

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Presented in our Day Sale, One Fine Day is another work by Matthew Wong. Informed by modernist traditions, his intuitive working method culminates in a vision of palpable dreamscapes that defies categorisation.

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With an almost preternatural sense for creating ethereal scenes, Wong sometimes populates his paintings with a solitary figure. One Fine Day is a meditation on the space between the imagined and the familiar. Here the lonesome figure lounging pleasurably on the hillside imbues a sense of tranquility amid the rhythmic, lushly-painted surroundings. Evoking the artist’s daily life since settling in rural Edmonton in Canada to focus on his artistic practice, perhaps the work reflects temporary respite from Wong’s own inner demons. But Wong’s ebullient palette is ‘tinged with a melancholic yearning’ and the sprawled silhouette with arms outstretched on the slope permeates the scene with ominous overtones.

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Romance in Nature

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Lucas Arruda is among Brazil’s globally sought-after fresh generation of artists, proven by the widespread institution and critical recognition for his exquisite landscapes and seascapes. One of the largest sized pieces to appear at auction, Untitled, from the artist’s Deserto-Modelo series, beckons the viewer to come closer, inviting them to peer into the meticulously applied brushstrokes that bring into form a complex rendition of a horizon line at the cusp of dawn or dusk. With fewer than ten Deserto-Modelo paintings offered in the auction market before, Untitled is a superb example from an artist rare at auction.

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Lucas Arruda Untitled, 2013. 20th Century & Contemporary Art Evening Sale, Hong Kong.
\nEstimate: HK$1,500,000 - 2,500,000.

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Urban Order

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Whether in creation, thinking or feeling, Liu Wei’s works bring a sense of time and space that is completely different from previous generations. His paintings are filled with multiple levels of complexity. Through rigorous composition and harmonious colors, the artist presents the beauty of order that is difficult to express in words to his audience. He attaches great importance to the exploration of visual styles. Simple, clear and touching the theme in a direct manner, his works express artistic approach opposing the conceptualization of art in complete visual ways. Created in 2010, Landscape depicted common scenes in daily life. It uses magnified images accurately produced by computers, and then re-adjusts the arrangement according to the new pixels generated by the magnification. By reorganizing linearly on the screen, light, shadow and boundary becomes abstract, which makes the picture seem familiar but indifferent and alienated; making it difficult for the audience to distinguish between virtual and reality.

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Liu Wei Landscape, 2010. 20th Century & Contemporary Art and Design Day Sale, Hong Kong.
\nEstimate: HK$550,000 - 750,000

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In Purple Air IV-4, stacked columns rendered in black and white are punctuated by bands of yellow, blue, purple and red against a crimson red background, the enveloping hazy greyish air is suggestive of the capital’s poor air quality. But the series in fact has a more auspicious ring to it, emanating from the Chinese saying ‘purple air comes from the east’ (紫氣東來). In the artist’s own words: 'In the Chinese classics, this idea of purple air refers to a state of haze, a lack of clarity, but actually full of vitality. There are so many problems, but it is still lovely.

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Liu Wei Purple Air IV-4, 2007. 20th Century & Contemporary Art Evening Sale, Hong Kong.
\nEstimate: HK$1,600,000 - 3,000,000.

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Optic Rhythm

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Chu Teh-Chun holds a prominent place in the canon of art history and is celebrated internationally for his unparalleled synthesis of classical Chinese painting with Western abstraction. After his move to Paris in 1955, Chu eschewed figurative art and turned to abstraction, particularly inspired by his encounter with the work of French artist, Nicolas de Staël and his abstract landscapes rendered in thick impasto.

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Le 30 mars 1981 is exemplary of Chu’s stylistic developments of the 1980s, featuring dynamic feathery brushwork that sweep the canvas in different directions. By the start of the decade, Chu’s exploration of Chinese ink painting and ways in which to integrate oil paint, had led to a significant shift in his oeuvre, and his paintings became decidedly lighter and more ethereal in their appearance. Chu masterfully renders light in his works of the 1980s, and his gleaming, luminous celestial landscapes reflect the interplay of light and dark.

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Chu Teh-Chun Le 30 mars 1981, 1981. 20th Century & Contemporary Art Evening Sale, Hong Kong.
\nEstimate: HK$5,500,000 - 7,500,000. © Chu Teh-Chun / ADAGP, Paris - SACK, Seoul, 2020

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Chu Teh-Chun Composition No. 65, 1960. 20th Century & Contemporary Art Evening Sale, Hong Kong.
\nEstimate: HK$15,00,000 - 20,000,000. © Chu Teh-Chun / ADAGP, Paris - SACK, Seoul, 2020

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Chu Teh-Chun Serin, 1990. 20th Century & Contemporary Art and Design Day Sale, Hong Kong.
\nEstimate: HK$3,000,000 - 5,000,000. © Chu Teh-Chun / ADAGP, Paris - SACK, Seoul, 2020

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Fractal Rapture

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Observing Zao Wou-Ki’s 14.06.73, one is reminded of a verdant landscape; fractal patterns against a sundrenched sky; lush foliage set against a hot summer’s day. Considering the wealth of Zao’s sources of inspiration, it is not hard to detect here all at once the great classical landscapes of the Song Dynasties, or even the English Romantic painter Joseph Mallord William Turner’s arresting scenes. Though centuries and worlds apart, both schools of thought sought to capture the rapture of their pastoral settings and the relative insignificance of mankind set against the enormity of nature.

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Zao’s virtuosic brushwork reveals various techniques and sophisticated use of colour. The scene ingeniously employs empty space to construct compositional depth of sky and land, while the swirl of activity in the centre of the piece is breathtaking, enveloping viewers with a powerful immersive quality.

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Zao Wou-Ki 14.06.73, 1973. 20th Century & Contemporary Art Evening Sale, Hong Kong.
\nEstimate: HK$10,000,000 - 16,000,000. © 2020, ProLitteris, Zurich

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\n","2020-11-24T04:08:00.000000Z","Dara Chau","https://www.phillips.com/article/66718881/the-art-of-scenery",7,1065,3306,66718881,"https://flockler.com/thumbs/sites/889/yoshitomo-nara_hothouse-doll-32df58b7-4879-46cc-9e4b-91d9aa8fc44b_s600x0.jpg","二十世紀及當代藝術部門主管杜依舜（Isaure de Viel Castel）探討備受鍾愛的日本藝術家奈良美智，並深入細研他最具代表性的傑作之一《溫室女孩》。","奈良美智的暗黑與歡快","

奈良美智《溫室女孩》 1995年作。壓克力畫布 119.8 x 109.9 cm。
\n 估價50,000,000 - 70,000,000港元/ 6,410,000 - 8,970,000美元，拍品 5，二十世紀及當代藝術晚間拍賣。

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PHILLIPS：奈良美智的標誌性風格建立自他在德國早期的職業生涯，《溫室女孩》如何呈現出這種風格？

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Isaure de Viel Castel: 如果想了解奈良美智那標誌性小女孩的創作緣起，必先認識他在德國的歲月。奈良美智在德國獲得了許多靈感啟迪，從文藝復興時期畫作，到最激進的音樂浪潮。在此期間，隨著他筆下的女主角特質逐漸成形，他的繪畫技巧亦越發精進。在《溫室女孩》中，她現身了：胖嘟嘟的臉頰、鮑伯髮型，還有目光銳利、直視觀者的一雙三角眼。奈良美智採用了柔和色調，脫離早期的粗黑輪廓線條風格，並去除任何顯眼背景，改為塑造一間中性勻淨的白色房間。猶如洋娃娃般的女孩身穿嬰兒藍連衣裙，配彼得·潘式小圓翻領，讓人想起《愛麗絲夢遊仙境》，也聯想到宮澤賢治運用白色、藍色和金色來作為無憂童年的代表象徵。
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奈良美智的藍衣女孩代表著純真和純潔，而這正是他成為當代最受喜愛的日本藝術家之一的其中一個原因。
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P: 奈良美智在成長過程中深受音樂影響，受此啟發的靈感常見於他的作品之中。能告訴我們更多關於他與音樂和藝術之間根深蒂固的關係嗎？

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IdVC: 最有可能與《溫室女孩》（Hothouse Doll）畫作標題有關的，會是Bruce Hornsby於1995年發行的專輯《Hot House》，該專輯中的歌曲蘊含具社會議題的歌詞，以及底下隱藏的黑暗寓意，與這幅畫中的緊張氣氛相似。另一個有可能性的源頭，是英國搖滾樂隊Cream的代表作《White Room》（1968年），這首歌講述生活在白色房間裡的創作者面臨生命轉折點，正在迎接人生重大變化；就像此時的奈良美智一樣。
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奈良美智從豐富的音樂資源中汲取靈感，並以採用歌詞作為作品標題著稱。
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P: 在你看來，哪些事件令這幅作品在奈良的眾多創作中脫穎而出並別具歷史意義？

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IdVC: 《溫室女孩》是藝術家作品全集《奈良美智: 作品圖錄》的封面，是由奈良美智親自挑選的，這本圖錄是有關藝術家內容最全面的專著。《溫室女孩》也是該本全集開首列出的「主要作品」之一，這些作品皆由奈良美智親選，顯示其重要性，以及作為了解其藝術的關鍵地位。

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奈良美智與他的2011年著作品圖錄，封面為作品《溫室女孩》。

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《溫室女孩》不僅是一幅盡顯精髓的代表性肖像畫，作品更是於1995年完成；這一年被認為是藝術家創作生涯中最重要的象徵性年份，也是他的突破時刻。1995年，奈良美智的首本專集出版；Blum & Poe成為他的藝術代理；他的作品在SCAI The Bathhouse（東京著名藝廊之一）的「In the Deepest Puddle」個展中展出。種種變化製造的機遇將他推向國際舞台，他的風格自此獲得廣泛認可。

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二十世紀及當代藝術部門主管杜依舜（Isaure de Viel Castel）。

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富藝斯與保利拍賣聯合舉行二十世紀及當代藝術晚間拍賣

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JW 萬豪酒店 | 12月3日

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富藝斯與保利拍賣聯合舉行二十世紀及當代藝術和設計日間拍賣

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JW 萬豪酒店 | 12月4日

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相關專題

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風景與想像——藝術家眼中的超凡景色

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6位女性藝術家，6種獨特視覺語言

\n","2020-11-28T02:13:15.000000Z","https://www.phillips.com/article/66991549/yoshitomo-nara-hothouse-doll-cn",6,1070,3318,66991549,"https://flockler.com/thumbs/sites/889/145299_uc316201-618265a8-59ed-4020-b3a0-08827681f64d_s600x0.jpg","Isaure de Viel Castel examines the beloved Japanese artists’ oeuvre and deep dives into one of his most iconic pieces, ‘Hothouse Doll’. ","Yoshitomo Nara: Dark & Delightful ","

Yoshitomo Nara Hothouse Doll, 1995. Estimate: HK$50,000,000 - 70,000,000 (US$6,410,000 - 8,970,000).

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Phillips: Yoshitomo Nara developed his signature style during early on in his career in Germany. How is Hothouse Doll representative of this style?

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Isaure de Viel Castel: The years Nara spent in Germany are essential when one wants to understand the genesis of Nara's iconic little girl. In Germany, Nara was exposed to multiple sources of inspiration ranging from Renaissance paintings to the most radical musical trends. During this period, his technique evolves as he crystallizes the characteristics of his heroine. In Hothouse Doll, she appears, with her pudgy cheeks, bob haircut and fixatedly piercing almond-eyes. Nara has softened his palette to pastel hues, departing from his earlier style featuring harsher black outlines and he has removed any significant background, preferring a neutral and uniform white room. The doll-like child in a baby blue dress and a Peter Pan collar draws comparison to Alice in Wonderland as well as Kenji Miyazawa’s symbolic use of the colors white, blue and gold to indicate the lightness of childhood.

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Nara’s blue-dressed girl represents innocence and purity and is one of the reasons why Nara has become one of the most beloved Japanese artists of our time.
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P: Nara was heavily influenced by music growing up, and this inspiration is very prevalent in his work. Can you tell us more about his deep rooted relationship with music and his art?

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IdVC: A possible link to the title of Hothouse Doll is Bruce Hornsby’s 1995 album Hot House which features songs with socially conscious lyrics and darker underlying messages that are similar to tensions present in this painting. Another possible source could be the iconic song White Room (1968) by the British rock band Cream, which speaks to a watershed period where the writer, living in a white room, came to terms with momentous changes in his life – much like Nara at this time.

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Nara drew from a rich pool of musical sources and is known to appropriate song lyrics in the titles of his works.
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P: In your opinion, what events have cemented the work’s historical significance in Nara’s oeuvre?

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IdVC: Hothouse Doll has been handpicked by the artist himself to be on the cover of his Catalogue Raisonné which is the most extensive monograph on the artist. Hothouse Doll is also featured in the ‘Major Works’ section at the beginning of the Catalogue Raisonné, indicating the importance of a group of works selected by Nara, as a key to understanding his art.

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Yoshitomo Nara with the present work on the cover of his 2011 catalogue raisonné

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Hothouse Doll is not only the quintessential portrait, it was also completed in 1995 – a symbolic year that is considered to be paramount in his practice and a breakout moment for him. In 1995, Nara’s first Monograph was published, Blum & Poe became his dealer and his works were exhibited at In the Deepest Puddle in SCAI The Bathhouse (one of the leading galleries in Tokyo); the timing of these changes catapulted him into the international sphere and he became widely recognized for his style.

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Isaure de Viel Castel, Head of Department, 20^th Century and Contemporary Art

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20th Century & Contemporary Art Evening Sale in Association with Poly Auction

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Marriott Hong Kong | 3 December

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20th Century & Contemporary Art and Design Dat Sale in Association with Poly Auction

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Marriott Hong Kong | 4 December

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\n","2020-11-25T09:19:44.000000Z","https://www.phillips.com/article/66737098/nara-hothouse-doll",5,1069,3314,66737098,"https://flockler.com/thumbs/sites/889/screenshot-2020-11-29-at-11-41-01-am-0e16a88c-5cc2-48bd-9ca3-12b40f899a77_s600x0.png","Phillips in Association with Poly Auction Preview | Hong Kong | Fall 2020","

Jonathan Crockett, Chairman of Phillips Asia and Alex Chang Managing Director of Poly Auctions Hong Kong walk us through some of the most incredible artworks from the 20th Century and Contemporary Art fall auction.

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\n","2020-11-29T03:22:52.000000Z","https://www.phillips.com/article/67058122/hk-tca-preview-walk-through",4,1077,3320,67058122,"https://flockler.com/thumbs/sites/889/christine-ay-tjoe_when-black-and-red-could-hardly-be-a-circl-761581e0-68b5-4e07-b5bd-6b4694e66123_s600x0.jpg","從一系列女性藝術家作品感受她們的獨特視覺語言。","6位女性藝術家，6種獨特視覺語言","

克裡絲汀·艾珠(Christine Ay Tjoe)《當黑與紅難以成圓》2013年作。油彩畫布，202 x 173 cm。估價4,000,000 - 6,000,000港元。拍品19，二十世紀及當代藝術晚間拍賣。

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\n富藝斯一向致力呈獻多元化藝術品，將於12月3和4日舉行的二十世紀及當代藝術晚間拍賣和二十世紀及當代藝術和設計日間拍賣繼續帶來不同類別拍品，其中亮點為女性藝術家的一系列創作，她們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。

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\n亞洲女性抽象藝術代表

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克裡絲汀·艾珠(Christine Ay Tjoe)《當黑與紅難以成圓》2013年作。

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艾珠是國際上公認的印尼最傑出女性當代藝術家，早期的製圖藝術訓練為她熟練掌握多種非常規媒介奠下基礎，其中包括凹版印刷和蝕刻。僅管艾珠隨後轉向如今已成為她標記的油畫棒布面創作，其早期訓練的影響在她作品中中仍然可見。於晚間拍賣呈現的《當黑與紅難以成圓》,充分表現了她對重疊線條、空間及抽象顏色運用的獨特風格。不僅憑藉女性藝術家身份有別於同僚，而且作爲同輩中的先鋒抽象藝術家，克裡絲汀．艾珠的作品極具辨識度，引起深刻共鳴。《當黑與紅難以成圓》繪製於2013年，是藝術家職業生涯中重要的轉折點，她的畫風由具象轉為抽象，多幅重要作品均在同一年完成，包含2017年在富藝斯香港拍賣所拍出、至今仍保持藝術家世界拍賣紀錄之作品《小蒼蠅及其他翅膀》。

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草間彌生 《無限網 (QRTWE)》2007年作，壓克力畫布，194 x 259 cm。估價15,000,000 - 20,000,000 港元。拍品9，二十世紀及當代藝術晚間拍賣。

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來自不同年代的草間彌生透過著名的《無限之網》系列奠定其藝壇地位，亮相於晚間拍賣的《無限網 (QRTWE)》正是其中一件傑出的典範之作。《無限網 (QRTWE)》在藝術家於2007年在倫敦的維多利亞米羅畫廊舉辦的兩部分展覽中首次亮相，與其他同年創作的單色《無限之網》畫作一同展出。這些作品讓人想起她最早在紐約布拉塔畫廊展出並開啟其星途的白色之網的繪畫，體現了她作品中形式的顯著連續性，與她創作主題中揮之不去的迷戀形成呼應。

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謝景蘭《雨後》1968年作。油彩畫布 81 x 100 cm。估價750,000 - 1,000,000港元。拍品24，二十世紀及當代藝術晚間拍賣。

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作為一位以多元形式進行創作的藝術家，謝景蘭曾受過水墨、書法、繪畫、音樂，以及舞蹈等多種藝術形式的訓練。精通這些藝術形式，謝景蘭在自己的藝術實踐中對其進行融合，創立了「綜合藝術」的作品形式。謝景蘭於1937年在國立杭州藝術專科學校邂逅了趙無極，兩人於1941年結婚，並於1948年一同搭乘客輪前往馬賽，其後來到巴黎。在巴黎度過的第一個十年裡，謝景蘭主要的身分是一名音樂作曲家和舞蹈家，而趙無極則在那幾年裡致力於油畫上的創作。直到1956年與趙無極離婚後，謝景蘭才在1957年開始自己的繪畫創作。

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對於謝景蘭而言，六十年代無疑是變革的十年，充滿了熾熱的創造力。她於1960年在巴黎的科茲畫廊舉辦了生平首次油畫個展，《雨後》是1968年的創作，展示了謝景蘭對音樂和舞蹈的綜合，以及對中國書法實踐的融合，並呈現了她作品中持續的一大主題：水。作品的旋律、韻律和動態捕捉了舞蹈中的優雅，並同時融合其早期風格和新的實踐，展現了油彩顏料和水墨般的技巧，創造出一種充滿肌理、幾乎呈顆粒狀的效果。在對光與影的運用上，《雨後》進一步創造出彷彿雨後烏雲散開的景象，體現謝景蘭在藝術上所受的豐富影響，其中包括林布蘭光影交織的風景畫。

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超現實皇室婚禮

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珍尼維·菲吉斯(Genieve Figgis)《婚禮派對》2019年作。壓克力畫布，100 x 150 cm。估價550,000 - 850,000港元。拍品106，二十世紀及當代藝術和設計日間拍賣。

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\n英國皇室的一舉一動向來是城中熱話，甚至成為藝術家的創作靈感。珍尼維・菲吉斯以其詼趣與顛覆性的集體肖像聞名，嘲諷著數世紀以來的社會規範。過去藝術家用盡心血去捕捉西方商業消費及富裕中產階級的品味，她則以諷刺的角度切入，將這個題材實實在在地推至到當下，並以諷喻手法與真實人生之慘淡寫照交互融合。

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Alexi Lubomirski / Courtesy of @KensingtonRoyal

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\n《婚禮派對》記錄了英國皇室哈利王子與美籍女星梅根・莫克爾2018年在英國舉行的婚禮，構圖直接參照了攝影師亞歷克斯・魯邦米爾斯基在溫莎堡裡綠色客廳所拍攝的官方家庭合照。豐富的繪畫肌理及趣味性的細節，全然展現了菲吉斯的創作特色。在這超現實、似乎來自另個世界的戲劇性場面中，新郎的形象被簡化成一灘火紅的頭髮及鬍子，新娘面部則是紅莓般張開的雙唇，並微露出幾顆潔白玉齒。威廉王子的白色臉龐掛著過大的微笑，一群小花童圍繞著這對幸福夫妻，露出一張又一張詭異的表情，在此不難看出菲吉斯對於上流社會極其諷刺卻意味深長的批判。

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走進夢工廠

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艾米莉·梅·史密斯 (Emily Mae Smith) 《灰塵》 2019年作。油彩麻布，27.9 x 35.5 cm。估價200,000 - 300,000港元。拍品 2，二十世紀及當代藝術晚間拍賣。

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\n艾米莉·梅·史密斯在過去20年裡一直在積極創作，有力地結合流行文化、神話和藝術史，史密斯在作品中呈現出一道迷人和奇幻的視覺盛宴，而其中的鮮味在於她對性別、性和代表性的評論。《灰塵》描繪了一幕大約取材自夢工廠標誌性的電影片頭(Robert Hunt，《夢工廠》)，一個男孩坐在月牙上的場景。

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Robert Hunt，《夢工廠》

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\n畫面中代替男孩的是藝術家自己標誌性的掃帚人，這個擬人化角色的靈感來自迪士尼的《幻想曲》（1940年）中的魔法掃帚。人物坐在一輪新月之上，伸出手臂接住夜空中落下閃閃發光的「塵埃」。掃帚象徵了女性從事家務的角色，史密斯以獨特的嘲諷形式對這一女性形象進行再現。同時，掃帚與畫筆有著相似性，象徵著女性藝術家的聲音，從更廣的層面來體現史密斯對女性主義、性別角色和女性在社會中的地位等議題的態度。《灰塵》一作利用全世界人們所熟悉的電視和電影中的經典圖像，以嶄新的女性主義視角來喚起人們的童年記憶和懷舊之情。

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記憶的絲線

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鹽田千春(Chihara Shiota)《生存的狀態 (螺旋)》2017年作。紅線鐵架， 56 x 60 x 69 cm。估價150,000 - 250,000港元。拍品166，二十世紀及當代藝術和設計日間拍賣。
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日本藝術家鹽田千春憑藉其錯綜複雜的編織紗線所創造出沈浸式環境而廣受讚譽。她多元且發人深省的作品深入個人記憶和情感的深處，探討了身分、時間性和存在等普遍概念，通過將參與式的體驗融入到她用紅色或黑色絲線製作的佈滿整個空間的場域特定裝置中，為記憶、焦慮、夢境和寂靜等無形的領域賦予了物質形式。

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《生存的狀態 (螺旋)》是一件展示鹽田千春創作和概念過程的迷人範例。絲線的熟練編織是對平面的概念和繪畫的傳統邊界展開的探索。紅色的絲線代表著東亞文化中普遍持有的信念，即紅色似血緣將人聯繫在一起。這些無法追踪的線和張力就像人類關係一樣相互糾結和作用，暗示著人類、物件和彼此之間的相互聯繫。

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藝術家還經常在她標誌性的雕塑系列中使用衣服、書籍或鑰匙等日常物件進行創作。鹽田千春©Gianni Plescia

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鹽田千春(Chihara Shiota)《生存的狀態 (鞋)》2019年作。鐵架鞋紅線，30 x 30 x 30 cm。估價220,000 - 420,000 港元。拍品167，二十世紀及當代藝術和設計日間拍賣。

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\n在《生存的狀態 (鞋)》中，鹽田千春用絲線將一雙鞋子包起，表達了對舊物的懷念之情。將這些記憶通過紅線聯繫起來，藝術家詩意的旅程探索了我們的內在情感與有形物體之間的秘密聯繫，並試圖解構我們對物質存在的理解。絲線阻隔了人與物的物理接觸，然而，這個結構卻同時創造出一個帶著人們自身存在和潛意識烙印的新的心理空間。

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富藝斯與保利拍賣聯合舉行二十世紀及當代藝術晚間拍賣

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JW 萬豪酒店 | 12月3日

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富藝斯與保利拍賣聯合舉行二十世紀及當代藝術和設計日間拍賣

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JW 萬豪酒店 | 12月4日

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相關專題

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風景與想像——藝術家眼中的超凡景色

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奈良美智的暗黑與歡快

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\n","2020-11-23T09:09:12.000000Z","https://www.phillips.com/article/66668914/female-artist-diversity-cn",1068,3303,66668914,"https://flockler.com/thumbs/sites/889/christine-ay-tjoe-2c22817d-e47d-42dc-bb82-f71ee9ed351c_s600x0.jpg","Six female artists and their distinctive visual languages. ","It's A Woman's World ","

Christine Ay Tjoe When Black and Red Could Hardly be a Circle, 2013. Estimate: HK$4,000,000 - 6,000,000.

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Committed to presenting diversified artworks, for our 20^th Century & Contemporary Art Evening and Day & Design fall auction, we highlight some of the most inspiring female artists and their works. Coming from different cultures, backgrounds and eras, each woman was influenced in their own ways to create empowering bodies of work that are distinctive in style and artistic vocabulary.

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Christine Ay Tjoe

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Christine Ay Tjoe When Black and Red Could Hardly be a Circle, 2013. Estimate: HK$4,000,000 - 6,000,000.

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Executed in 2013, When Black and Red Could Hardly be a Circle showcases Christine Ay Tjoe’s inimitable style, with an innate understanding of the relationship between line, space and colour. 2013 was a seminal year for the artist, when Ay Tjoe’s style evolved definitively from figuration to abstraction. Some of her best works were created that year, including the holder of the artist’s world auction record Small Flies and Other Wings which sold at Phillips in 2017. Whilst When Black and Red Could Hardly be a Circle retains some vestiges of figurative language with the same fly-like creatures that feature in Small Flies and Other Wings, in the present work Ay Tjoe places greater emphasis on expressing pure, brute emotion in the blunt, whirling streaks of color.

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When Black and Red Could Hardly be a Circle evokes the fearlessness of the Abstract Expressionists, but eschews the hackneyed machismo of its poster boys Willem de Kooning and Jackson Pollock. Whilst the action painter Pollock leadened and collapsed the picture space with his drip paintings (see for example Number One, 1950 (Lavender Mist)), Ay Tjoe’s intuitive brushstrokes discover new spaces within the canvas, skilfully creating spatial tension and poetic naturalistic forms that recall the force of sweeping winds barreling through the air. And in contrast to de Kooning's somewhat vulgar abstract portraits of vampish females which objectified their subjects with aggressive, thick swathes of paint (in particular his notorious Woman series), Ay Tjoe transmutes that muscular bravura into something that speaks to the universality of human experience: ‘My interest point is human beings,’ she has said. ‘In my works, I talk more about what will happen in terms of human trends, local or global; what I see as possibilities in my mind, personal ideas.

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Yayoi Kusama

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Yoayoi Kusama INFINITY-NETS (QRTWE), 2007. Estimate: HK$15,000,000 - 20,000,000.

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INFINITY-NETS (QRTWE) is an exceptional example from Yayoi Kusama’s celebrated oeuvre that continues the legacy of her most iconic Infinity Nets series, which the artist has developed and enriched for more than half a century, cementing her place as an iconic figure at the centre of contemporary art. The present work was first unveiled at the artist’s two-part exhibition at Victoria Miro in London in 2007. The work recalls the artist’s earliest white net paintings that were presented at the Brata Gallery in New York and propelled her to artistic stardom.

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INFINITY-NETS (QRTWE) was first unveiled at the artist’s two-part exhibition at Victoria Miro in London in 2007, hung next to other monochromatic Infinity Net paintings created that same year. The works recall the artist’s earliest white net paintings that were presented at the Brata Gallery in New York and propelled her to artistic stardom, confirming the formal continuity evident in her body of work that complements the consistent obsessions that have defined her subject matter. At the same time, INFINITY-NETS (QRTWE) is equally unique in its sophisticated restaging of Kusama’s iconic motif, which has since become immediately recognisable beyond the confines of the art world.

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Lalan

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Lalan Efter Regnen (After the Rain), 1968. Estimate: HK$750,000 - 1,000,000.

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Lalan was a multidisciplinary artist trained across various art forms including ink, calligraphy, painting, music, and dance. Excelling in all such categories, Lalan united these fields in her artistic practice to create an oeuvre that epitomised “synthesised art”. the artist enrolled in the Hangzhou School of Art in 1937 where she met Zao Wou-Ki and got married in 1941, and in 1948, the pair set sail for Marseilles with their eyes set on Paris. For the most part of the decade following her arrival in Paris, Lalan was predominantly a music composer and dancer, while Zao’s initial years in the French capital were dedicated to his oil painting. It would not be until after her divorce from Zao in 1956, that Lalan would begin painting the following year in 1957.

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A painter of our era, but with oriental influence, and of Chinese inspiration: I remain both Chinese and contemporary.
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For Lalan, the sixties was certainly a time of change, filled with ardent creative energy. As a painter, Lalan had her first solo exhibition at Galerie Creuze in Paris in 1960, in which early abstract works bearing remnants of bone and shell inscriptions, calligraphic touches, and bronze and stone carvings were exhibited. Executed in 1968, After the Rain, so titled in Danish, demonstrates the synthesis of Lalan’s music and dance and her infusion of Chinese calligraphic practices, and also presents one of her most enduring motifs: water.

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The present work’s melody, rhythm, and movement capture the elegance of dance, while the intertwining brown and black bouclé forms resemble all at once the coils of a Chinese character, or indeed a dancer’s ribbon stick. The work’s background also amalgamates her earlier styles with her new practices, featuring both oil paint and a technique reminiscent of ink wash to create a textured, almost grain-like effect. In its use of light and shadows, Efter Regnen further mimics the dispersing of grey clouds after the rain, underscoring a wealth of possible influences including Rembrandt’s shadowy landscapes. Several years after its completion, After the Rain was displayed and sold shortly after the 1971 show Lalan at Galerie Moderne Silkeborg in Denmark, a mark perhaps of the universality of the piece and its alluring movement.

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Genieve Figgis

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Genieve Figgis Wedding Party, 2019. Estimate: HK$550,000 - 850,000.

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Genieve Figgis known for her witty and subversive group portraits which satirise social norms of centuries past. Lampooning Western commercial consumption and the bourgeois tastes of the rich middle-class as dutifully captured by artists of the past, Figgis brings such subjects firmly into the present day with a mixture of satire and poignant real depictions of life.

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Wedding Party chronicles the wedding celebrations of Britain's Prince Harry and American Meghan Markle in England in 2018, and directly references one of the official family portraits taken by photographer Alexi Lubomirski in the Green Drawing Room at Windsor Castle. Lushly painted textures and playful details, the hallmarks of Figgis’s work, are all present. In this surreal, otherworldly tableau the groom is reduced to a puddle of flame-coloured hair and beard, whilst his bride’s face is defined by a raspberry-red gaping mouth and a few delicate white teeth. Meanwhile Prince William is a powdered white visage with bulging eyes and rictus grin, and the little faces of the pageboys and girls at the happy couple’s feet show a range of ghoulish expressions.

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Alexi Lubomirski / Courtesy of @KensingtonRoyal

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Emily Mae Smith

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Emily Mae Smith Dust, 2019. HK$200,000 - 300,000.

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Brooklyn based Emily Mae Smith has been actively creating for the last two decades, but it is only in recent years that she has increasingly gained attention through a unique visual language in the form of a humble broom. A potent concoction incorporating pop culture, mythology and art history, through her works Smith serves a visual feast of glamour and whimsy, but the umami of the works lies in her commentary on gender, sexuality and representation.

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Robert Hunt DreamWorks, 1994.

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Dust portrays a scene that was seemingly adapted from the iconic DreamWorks opening credits of a boy sitting on a crescent moon (see Robert Hunt, DreamWorks). In place of the boy is the artist’s signature avatar — an anthropomorphic broomstick figure inspired by the magic brooms from Disney’s Fantasia (1940), the figure sits atop of a crescent moon, its arm outstretched to catch the sparkling ‘dust’ of the night sky.

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Chiharu Shiota

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Chiharu Shiota State of Being (Spiral), 2017. HK$150,000 - 250,000.

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State of Being (Spiral) is a compelling example of Shiota’s working and conceptual processes. The skilful weaving of threads explores the notion of surface and the traditional boundaries of painting. In the artist’s own words, “weaving gave me the opportunity to expand and I feel as if I am drawing in the air on a limitless space.” ⁱ The red thread represents the widely-held East Asian belief that the colour binds people together through lineage. These untraceable lines and tensions tangle and interact like human relationships, alluding to the interconnectedness of humans, objects and each other.

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Chiharu Shiota State of Being (Shoes), 2019. HK$220,000 - 420,000.

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The artist also works frequently with everyday objects such as clothes, books or keys in her signature sculpture series. In State of Being (Shoes), Shiota boxes up a pair of shoes inside a web of threads, articulating sentiments of nostalgia towards familiar objects. In 2014, the artist created a large-scale installation at the Smithsonian Institute with thousands of pairs of worn shoes each accompanied by a note detailing memories associated with the particular item. Connecting these memories with red threads, the artist’s poetic journey explores the secret ties between our inner emotions and tangible objects, and seeks to deconstruct our conception of physical existence. As the art critic John Neylon once remarks that Shiota’s “philosophy of life and indeed her multifarious forms of expression regards these threads that characterise her practice as representations of a truth – that there are in fact threads of connection that bind us all.” ⁱⁱ In this work, the thread separates one’s physical contact with the object, yet at the same time the structure allows for a new psychological space to emerge that bears the imprint of one’s own existence and consciousness.

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Explore Phillips' 20th Century & Contemporary Art fall preview via our VR walkthrough or visit us at JW Marriott Hong Kong from now until 5 December.

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\n","2020-11-30T07:52:56.000000Z","https://www.phillips.com/article/67133091/six-female-artists-and-their-distinctive-visual-language",2,1079,3322,67133091,"https://flockler.com/thumbs/sites/889/148255-6d0aed47-8ea3-4612-83ee-f6e687b9a76e_s600x0.jpg","班克斯 (Banksy) 顛覆破格創作者，以街頭藝術在國際上的聲譽遠超其匿名身分，作品結合了諷刺性的幽默和塗鴉，被公認為二十一世紀最多產的藝術家之一。","班克斯- 顛覆常規的破格者","

班克斯 (Banksy) ，《猴子雷管》2002年作。噴漆卡紙，90.8 x 90.8 cm。
\n拍品 27 ，估價3,800,000 - 4,800,000港元。二十世紀及當代藝術晚間拍賣。

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今季的「二十世紀及當代藝術和設計」拍賣呈獻一系列班克斯的作品，於二十世紀及當代藝術晚間拍賣登場的《猴子雷管》更為班克斯最為著名的作品之一，以一隻猴子跳到引爆器上啟動爆炸的形象，完美展現了這位來自布里斯托的藝術家狂放不羈的幽默。它躍身空中，雙手握住引爆器，隨時準備將其推下，這一奇妙的組合同時展現了炸藥的危險性和猴子面對死亡前的決然。作為班克斯震撼人心的一件典範之作，《猴子雷管》引領著觀者笑看這荒誕畫面的同時也影射了藝術家作品中典型的主題，即具有明顯社會政治意味的含義。

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猴子是班克斯的作品中不斷出現的主題，就《猴子雷管》而言，這隻調皮的猴子距離引發一場爆炸僅數秒之遙，讓人想起莽撞的行為所釀成的大禍。或許有人會爭論這個靈長類野生動物渾然不知自己的行為將帶來的後果，但它耳朵裡的通訊器卻告訴我們事實並非如此。班克斯在作品中加入了戰時使用的遠程無線引爆開關這一細節，正是直接提醒觀者畫中人物是懷著驚人的決心在採取行動的。

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班克斯《猴子雷管》於倫敦滑鐵盧，2006年作。Courtesy Pest Control Office.

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二十世紀及當代藝術和設計日間拍賣同樣帶來多幅班克斯精彩之作。作品《笑在當下》同樣以猴子為主角，猴子是班克斯作品中不斷出現的主題，自2000年代初以來，藝術家有意將其塑造為具有諷刺意味的角色。

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班克斯 (Banksy) 《笑在當下》2003年作。絲網印刷紙本 , 69.2 x 49.3 cm.
\n拍品189，估價120,000 - 180,000港元
\n二十世紀及當代藝術和設計日間拍賣

\n\n

藝術家採用人們熟悉的視覺圖像，顛覆了文化糖衣和日常中充斥之資本主義功利，揭露全球化、過度開發和大眾媒體對暴力的常理化的可怕事實。《裁核運動軍人》是藝術家最著名的反戰作品之一，傳達對英國政府參與伊拉克戰爭之抗議。作品呈現了兩名士兵悄悄地噴繪和平的標誌，其中一人手持步槍，這一畫面展現了一個有趣的並置，對政府在維持和平的使命中扮演的角色發起質疑。延續同一主題，《凝固汽油彈》描繪了一個更為悲哀的圖像，畫面中家喻戶曉的米老鼠和唐老鴨在一個赤身裸體、哭泣的女孩身邊歡快地跳著，而仔細看時，會發現畫中描繪的正是1972年紀錄越戰中凝固汽油彈空襲場面的著名照片中的小孩。

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班克斯 (Banksy) 《裁核運動軍人》2005年作。
\n絲網印刷紙本，image 53.6 x 38.4 cm. ，sheet 69.7 x 49.8 cm
\n拍品194，估價100,000 - 150,000港元
\n二十世紀及當代藝術和設計日間拍賣

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班克斯 (Banksy) 《凝固汽油彈》2005年作。
\n絲網印刷紙本，image 37.5 x 58.7 cm.，sheet 50.2 x 70.2 cm
\n拍品192，估價150,000 - 250,000 港元
\n二十世紀及當代藝術和設計日間拍賣

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班克斯 (Banksy) 《我對抗過法律》2004年作。
\n絲網印刷紙本，image 66 x 66.1 cm.,sheet 69.7 x 69.7 cm.
\n拍品193，估價60,000 - 80,000 港元
\n二十世紀及當代藝術和設計日間拍賣

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班克斯 (Banksy) 《沒有球賽 (綠色)》2009年作。
\n絲網印刷紙本，image 61.1 x 64.1 cm.,sheet 67 x 69.8 cm.
\n拍品200，估價200,000 - 300,000 港元
\n二十世紀及當代藝術和設計日間拍賣
\n

\n\n

僅管班克斯不是第一位打破塗鴉與「高級藝術」界線的藝術家，在他之前的凱斯·哈林、讓·米歇爾·巴斯奎特以及謝帕德·費爾雷等著名藝術家都是從街頭藝術開始進入藝術圈的視野，然而他的影響力——被稱為「Banksy效應」——為一代街頭藝術家獲得人們的關注鋪平了道路。如今，作為一名處於街頭藝術運動浪尖的藝術家，他的作品獲得了包括大英博物館和倫敦維多利亞與亞伯特博物館等著名博物館的收藏，從一名破壞者變成了神話般的英雄人物，傳統相逆的地位也將這一藝術題材推向了新的高度，並不斷為許多人重新定義「藝術」究竟是什麼。

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富藝斯與保利拍賣聯合舉行二十世紀及當代藝術晚間拍賣

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JW 萬豪酒店 | 12月3日

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富藝斯與保利拍賣聯合舉行二十世紀及當代藝術和設計日間拍賣

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JW 萬豪酒店 | 12月4日

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相關專題

\n\n

風景與想像——藝術家眼中的超凡景色

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奈良美智的暗黑與歡快

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6位女性藝術家，6種獨特視覺語言

\n","2020-11-29T05:06:34.000000Z","https://www.phillips.com/article/67061241/banksy-tca-hk-eve-day-cn",1081,3321,67061241,"https://flockler.com/thumbs/sites/889/148255-6d0aed47-8ea3-4612-83ee-f6e687b9a76e-8fcefc9d-891a-4f37-91c5-cb0a6beddc4a_s600x0.jpg","Recognized as one of the most prolific artists of the 21st century, Banksy combines satirical humor and graffiti in his works which catapulted him to international fame. ","Banksy, The Conventional Disruptor ","

Banksy Monkey Detonator, 2002. Estimate: HK$3,800,000 - 4,800,000. 20th Century & Contemporary Art Evening Auction

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Legendary street artist-provocateur Banksy is widely considered as one of the most prolific creators of the 21st Century, having built an international reputation that far precedes his anonymous identity, teetering between acclaim and notoriety. Active since the 1990s, his satirical compositions combine sardonic humor with graffiti and are now instantly recognizable across the globe. Monkey Detonator, one of Banksy’s most famed and coveted images, perfectly exemplifies the Bristol-born artist’s irreverent wit in its portrayal of a cheerful monkey jumping directly onto a detonator to ignite an explosion. Caught mid-leap with hands already grasped around the plunger, ready to push down, a curious juxtaposition is presented between the dangerousness of the device and the chimp’s determination, despite the obvious risk of being fatally harmed himself. As a captivating example from Banksy’s visually striking oeuvre, Monkey Detonator invites viewers to both laugh at the absurdity of the composition whilst also reflect on the distinct socio-political undercurrents quintessential of the artist’s oeuvre.

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Banksy Monkey Detonator, Waterloo London, 2006. Courtesy of Pest Control.

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Our 20th Century & Contemporary Art Evening Auction and 20th Century & Contemporary Art and Design Day Auction includes an array of wonderful works by Banksy. The work Laugh Now also takes monkeys as the subject. Monkeys are a constant theme in Banksy's works. Since the early 2000s, the artist has deliberately portrayed them as ironic characters seen throughout his artistic career.

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“They say that if you gave a thousand monkeys a thousand typewriters at some point you’d have yourself a novel. I was wondering if you gave a thousand monkeys a thousand sticks of dynamite how long it would take for them to make the city a more beautiful looking place.”
\n

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Banksy Laugh Now, 2003. Estimate: HK$120,000 - 180,000. 20th Century & Contemporary Art and Design Day Auction

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Drawing on recognisable visual imagery, the artist subverts icons of cultural fantasy and products of capitalism to uncover disquieting truths regarding globalisation, exploitation and the mass media’s normalisation of violence. CND is one of the artist’s best-known anti-war works that protests against the British government’s involvement in the Iraq War. The work shows two soldiers surreptitiously painting the peace sign, one of them holding a rifle, the composition presenting an interesting juxtaposition to question the role played by governments in their peacekeeping missions.

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Banksy CND, 2005. Estimate: HK$100,000 - 150,000. 20th Century & Contemporary Art and Design Day Auction

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Along the same theme, Napalm depicts a more harrowing motif, with family-friendly Mickey Mouse and Ronald McDonald skipping cheerfully alongside a naked, crying girl, who upon close inspection, is the child depicted in the 1972 photograph taken after an aerial napalm attack during the Vietnam War.

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Banksy Napalm, 2005. HK$150,000 - 250,000. 20th Century & Contemporary Art and Design Day Auction

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Banksy I Fought the Law, 2004. HK$60,000 - 80,000. 20th Century & Contemporary Art and Design Day Auction

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Banksy No Ball Games (Green), 2009. HK$200,000 - 300,000. 20th Century & Contemporary Art and Design Day Auction

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While Banksy isn’t the first to break the boundaries between graffiti with high art, before him were legends such as Keith Haring, Jean-Michel Basquiat and Shepard Fairey who entered the art scene through street art. The “Banksy-effect” paved the way for a new generation of street artists and bringing his street work into the world’s most famous museums like the British Museum and the Victoria and Albert Museum in London. From vandal to art hero, Banksy’s works pushed him to new heights and continues to redefine what “art” is for most.

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Explore Phillips' 20th Century & Contemporary Art fall preview via our VR walkthrough or visit us at JW Marriott Hong Kong from now until 5 December.

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Discover More

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Phillips in Association with Poly Auction Preview | Hong Kong | Fall 2020

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It's A Woman's World

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Yoshitomo Nara: Dark & Delightful

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靜謐奇境\n

王俊傑 (Matthew Wong)《美好的一天》2017年作，壓克力 畫布，60.9x50.8公分。\n估價500,000-700,000 港元。拍品101，二十世紀及當代藝術和設計日間拍賣。\nMatthew Wong's One Fine Day. Copyright © [2017] Monita K.Y. Cheng

大自然浪漫主義

盧卡斯·阿魯達(Lucas Arruda)《無題》2013年作，油彩 畫布，50x60公分。\n估價1,500,000 - 2,500,000港元。拍品29，二十世紀及當代藝術晚間拍賣。

城市秩序\n

劉韡《風景》2010年作，油彩 畫布公分，180 x 221。\n估價550,000 - 750,000港元。拍品129，二十世紀及當代藝術和設計日間拍賣。

劉韡 《紫氣四第4號》 2007年作。油彩 畫布，300 x 180 cm。\n估價 1,600,000 - 3,000,000 港元。拍品13，二十世紀及當代藝術晚間拍賣。

\n

光線律動\n

© Chu Teh-Chun / ADAGP, Paris - SACK, Seoul, 2020\n朱德群《1981年3月30日》1981年作，油彩 畫布，160.5 x 80.3公分。\n估價5,500,000 - 7,500,000港元。拍品23，二十世紀及當代藝術晚間拍賣。

© Chu Teh-Chun / ADAGP, Paris - SACK, Seoul, 2020\n朱德群 《構圖65號》 1960年作。油彩 畫布，145.4 x 89.2 cm 。\n估價15,00,000 - 20,000,000 港元。拍品22，二十世紀及當代藝術晚間拍賣。

© Chu Teh-Chun / ADAGP, Paris - SACK, Seoul, 2020\n朱德群《Serin》1990年作。油彩 畫布，162 x 130 cm。\n估價3,000,000 - 5,000,000港元。拍品214，二十世紀及當代藝術晚間拍賣。

自然韻律\n

© 2020, ProLitteris, Zurich\n趙無極《14.06.73》1973年作。油彩 畫布，99.5 x 81.2公分。\n估價10,000,000 - 16,000,000港元。拍品21，二十世紀及當代藝術晚間拍賣。

Tranquil Wonderland\n

Matthew Wong One Fine Day, 2017. 20th Century & Contemporary Art and Design Day Sale, Hong Kong.\nEstimate: 500,000 - 700,000. Copyright © [2017] Monita K.Y. Cheng

Romance in Nature

Lucas Arruda Untitled, 2013. 20th Century & Contemporary Art Evening Sale, Hong Kong.\nEstimate: HK$1,500,000 - 2,500,000.

Urban Order

Liu Wei Landscape, 2010. 20th Century & Contemporary Art and Design Day Sale, Hong Kong.\nEstimate: HK$550,000 - 750,000

Liu Wei Purple Air IV-4, 2007. 20th Century & Contemporary Art Evening Sale, Hong Kong.\nEstimate: HK$1,600,000 - 3,000,000.

Optic Rhythm

Chu Teh-Chun Le 30 mars 1981, 1981. 20th Century & Contemporary Art Evening Sale, Hong Kong.\nEstimate: HK$5,500,000 - 7,500,000. © Chu Teh-Chun / ADAGP, Paris - SACK, Seoul, 2020

Chu Teh-Chun Composition No. 65, 1960. 20th Century & Contemporary Art Evening Sale, Hong Kong.\nEstimate: HK$15,00,000 - 20,000,000. © Chu Teh-Chun / ADAGP, Paris - SACK, Seoul, 2020

Chu Teh-Chun Serin, 1990. 20th Century & Contemporary Art and Design Day Sale, Hong Kong.\nEstimate: HK$3,000,000 - 5,000,000. © Chu Teh-Chun / ADAGP, Paris - SACK, Seoul, 2020

Fractal Rapture

Zao Wou-Ki 14.06.73, 1973. 20th Century & Contemporary Art Evening Sale, Hong Kong.\nEstimate: HK$10,000,000 - 16,000,000. © 2020, ProLitteris, Zurich

奈良美智與他的2011年著作品圖錄，封面為作品《溫室女孩》。

二十世紀及當代藝術部門主管杜依舜（Isaure de Viel Castel）。

Yoshitomo Nara with the present work on the cover of his 2011 catalogue raisonné

Isaure de Viel Castel, Head of Department, 20th Century and Contemporary Art

\n亞洲女性抽象藝術代表

克裡絲汀·艾珠(Christine Ay Tjoe)《當黑與紅難以成圓》2013年作。

草間彌生《無限網 (QRTWE)》2007年作，壓克力 畫布，194 x 259 cm。估價15,000,000 - 20,000,000 港元。拍品9，二十世紀及當代藝術晚間拍賣。

謝景蘭《雨後》1968年作 。油彩 畫布 81 x 100 cm。估價750,000 - 1,000,000港元。拍品24，二十世紀及當代藝術晚間拍賣。

超現實皇室婚禮

珍尼維·菲吉斯(Genieve Figgis)《婚禮派對》2019年作。壓克力 畫布，100 x 150 cm。估價550,000 - 850,000港元。拍品106， 二十世紀及當代藝術和設計日間拍賣。

Alexi Lubomirski / Courtesy of @KensingtonRoyal

走進夢工廠

艾米莉·梅·史密斯 (Emily Mae Smith) 《灰塵》 2019年作。油彩 麻布，27.9 x 35.5 cm。估價200,000 - 300,000港元。拍品 2，二十世紀及當代藝術晚間拍賣。

Robert Hunt，《夢工廠》

記憶的絲線

鹽田千春(Chihara Shiota)《生存的狀態 (螺旋)》2017年作。紅線 鐵架， 56 x 60 x 69 cm。估價150,000 - 250,000港元。拍品166， 二十世紀及當代藝術和設計日間拍賣。\n

藝術家還經常在她標誌性的雕塑系列中使用衣服、書籍或鑰匙等日常物件進行創作。鹽田千春©Gianni Plescia

鹽田千春(Chihara Shiota)《生存的狀態 (鞋)》2019年作。鐵架 鞋 紅線，30 x 30 x 30 cm。估價220,000 - 420,000 港元。拍品167， 二十世紀及當代藝術和設計日間拍賣。

Christine Ay Tjoe

Christine Ay Tjoe When Black and Red Could Hardly be a Circle, 2013. Estimate: HK$4,000,000 - 6,000,000.

Yayoi Kusama

Yoayoi Kusama INFINITY-NETS (QRTWE), 2007. Estimate: HK$15,000,000 - 20,000,000.

Lalan

Lalan Efter Regnen (After the Rain), 1968. Estimate: HK$750,000 - 1,000,000.

Genieve Figgis

Genieve Figgis Wedding Party, 2019. Estimate: HK$550,000 - 850,000.

Alexi Lubomirski / Courtesy of @KensingtonRoyal

Emily Mae Smith

Emily Mae Smith Dust, 2019. HK$200,000 - 300,000.

Robert Hunt DreamWorks, 1994.

Chiharu Shiota

Chiharu Shiota State of Being (Spiral), 2017. HK$150,000 - 250,000.

Chiharu Shiota State of Being (Shoes), 2019. HK$220,000 - 420,000.

班克斯《猴子雷管》於倫敦滑鐵盧，2006年作。Courtesy Pest Control Office.

班克斯 (Banksy) 《笑在當下》2003年作。絲網印刷 紙本 , 69.2 x 49.3 cm. \n拍品189，估價120,000 - 180,000港元\n二十世紀及當代藝術和設計日間拍賣

班克斯 (Banksy) 《裁核運動軍人》2005年作。\n絲網印刷 紙本，image 53.6 x 38.4 cm. ，sheet 69.7 x 49.8 cm\n拍品194，估價100,000 - 150,000港元\n二十世紀及當代藝術和設計日間拍賣

班克斯 (Banksy) 《凝固汽油彈》2005年作。\n絲網印刷 紙本 ，image 37.5 x 58.7 cm.，sheet 50.2 x 70.2 cm\n拍品192，估價150,000 - 250,000 港元\n二十世紀及當代藝術和設計日間拍賣

班克斯 (Banksy) 《我對抗過法律》2004年作。\n絲網印刷 紙本，image 66 x 66.1 cm.,sheet 69.7 x 69.7 cm. \n拍品193，估價60,000 - 80,000 港元\n二十世紀及當代藝術和設計日間拍賣

班克斯 (Banksy) 《沒有球賽 (綠色)》2009年作。\n絲網印刷 紙本，image 61.1 x 64.1 cm.,sheet 67 x 69.8 cm.\n拍品200，估價200,000 - 300,000 港元\n二十世紀及當代藝術和設計日間拍賣\n

Banksy Monkey Detonator, Waterloo London, 2006. Courtesy of Pest Control.

Banksy Laugh Now, 2003. Estimate: HK$120,000 - 180,000. 20th Century & Contemporary Art and Design Day Auction

Banksy CND, 2005. Estimate: HK$100,000 - 150,000. 20th Century & Contemporary Art and Design Day Auction

Banksy Napalm, 2005. HK$150,000 - 250,000. 20th Century & Contemporary Art and Design Day Auction

Banksy I Fought the Law, 2004. HK$60,000 - 80,000. 20th Century & Contemporary Art and Design Day Auction

Banksy No Ball Games (Green), 2009. HK$200,000 - 300,000. 20th Century & Contemporary Art and Design Day Auction

靜謐奇境
\n

王俊傑 (Matthew Wong)《美好的一天》2017年作，壓克力畫布，60.9x50.8公分。
\n估價500,000-700,000 港元。拍品101，二十世紀及當代藝術和設計日間拍賣。
\nMatthew Wong's One Fine Day. Copyright © [2017] Monita K.Y. Cheng

盧卡斯·阿魯達(Lucas Arruda)《無題》2013年作，油彩畫布，50x60公分。
\n估價1,500,000 - 2,500,000港元。拍品29，二十世紀及當代藝術晚間拍賣。

城市秩序
\n

劉韡《風景》2010年作，油彩畫布公分，180 x 221。
\n估價550,000 - 750,000港元。拍品129，二十世紀及當代藝術和設計日間拍賣。

劉韡《紫氣四第4號》 2007年作。油彩畫布，300 x 180 cm。
\n估價 1,600,000 - 3,000,000 港元。拍品13，二十世紀及當代藝術晚間拍賣。

光線律動
\n

© Chu Teh-Chun / ADAGP, Paris - SACK, Seoul, 2020
\n朱德群《1981年3月30日》1981年作，油彩畫布，160.5 x 80.3公分。
\n估價5,500,000 - 7,500,000港元。拍品23，二十世紀及當代藝術晚間拍賣。

© Chu Teh-Chun / ADAGP, Paris - SACK, Seoul, 2020
\n朱德群《構圖65號》 1960年作。油彩畫布，145.4 x 89.2 cm 。
\n估價15,00,000 - 20,000,000 港元。拍品22，二十世紀及當代藝術晚間拍賣。

© Chu Teh-Chun / ADAGP, Paris - SACK, Seoul, 2020
\n朱德群《Serin》1990年作。油彩畫布，162 x 130 cm。
\n估價3,000,000 - 5,000,000港元。拍品214，二十世紀及當代藝術晚間拍賣。

自然韻律
\n

© 2020, ProLitteris, Zurich
\n趙無極《14.06.73》1973年作。油彩畫布，99.5 x 81.2公分。
\n估價10,000,000 - 16,000,000港元。拍品21，二十世紀及當代藝術晚間拍賣。

Tranquil Wonderland
\n

Matthew Wong One Fine Day, 2017. 20th Century & Contemporary Art and Design Day Sale, Hong Kong.
\nEstimate: 500,000 - 700,000. Copyright © [2017] Monita K.Y. Cheng

Lucas Arruda Untitled, 2013. 20th Century & Contemporary Art Evening Sale, Hong Kong.
\nEstimate: HK$1,500,000 - 2,500,000.

Liu Wei Landscape, 2010. 20th Century & Contemporary Art and Design Day Sale, Hong Kong.
\nEstimate: HK$550,000 - 750,000

Liu Wei Purple Air IV-4, 2007. 20th Century & Contemporary Art Evening Sale, Hong Kong.
\nEstimate: HK$1,600,000 - 3,000,000.

Chu Teh-Chun Le 30 mars 1981, 1981. 20th Century & Contemporary Art Evening Sale, Hong Kong.
\nEstimate: HK$5,500,000 - 7,500,000. © Chu Teh-Chun / ADAGP, Paris - SACK, Seoul, 2020

Chu Teh-Chun Composition No. 65, 1960. 20th Century & Contemporary Art Evening Sale, Hong Kong.
\nEstimate: HK$15,00,000 - 20,000,000. © Chu Teh-Chun / ADAGP, Paris - SACK, Seoul, 2020

Chu Teh-Chun Serin, 1990. 20th Century & Contemporary Art and Design Day Sale, Hong Kong.
\nEstimate: HK$3,000,000 - 5,000,000. © Chu Teh-Chun / ADAGP, Paris - SACK, Seoul, 2020

Zao Wou-Ki 14.06.73, 1973. 20th Century & Contemporary Art Evening Sale, Hong Kong.
\nEstimate: HK$10,000,000 - 16,000,000. © 2020, ProLitteris, Zurich

Isaure de Viel Castel, Head of Department, 20^th Century and Contemporary Art

草間彌生《無限網 (QRTWE)》2007年作，壓克力畫布，194 x 259 cm。估價15,000,000 - 20,000,000 港元。拍品9，二十世紀及當代藝術晚間拍賣。

謝景蘭《雨後》1968年作。油彩畫布 81 x 100 cm。估價750,000 - 1,000,000港元。拍品24，二十世紀及當代藝術晚間拍賣。

珍尼維·菲吉斯(Genieve Figgis)《婚禮派對》2019年作。壓克力畫布，100 x 150 cm。估價550,000 - 850,000港元。拍品106，二十世紀及當代藝術和設計日間拍賣。

艾米莉·梅·史密斯 (Emily Mae Smith) 《灰塵》 2019年作。油彩麻布，27.9 x 35.5 cm。估價200,000 - 300,000港元。拍品 2，二十世紀及當代藝術晚間拍賣。

鹽田千春(Chihara Shiota)《生存的狀態 (螺旋)》2017年作。紅線鐵架， 56 x 60 x 69 cm。估價150,000 - 250,000港元。拍品166，二十世紀及當代藝術和設計日間拍賣。
\n

鹽田千春(Chihara Shiota)《生存的狀態 (鞋)》2019年作。鐵架鞋紅線，30 x 30 x 30 cm。估價220,000 - 420,000 港元。拍品167，二十世紀及當代藝術和設計日間拍賣。

班克斯 (Banksy) 《笑在當下》2003年作。絲網印刷紙本 , 69.2 x 49.3 cm.
\n拍品189，估價120,000 - 180,000港元
\n二十世紀及當代藝術和設計日間拍賣

班克斯 (Banksy) 《裁核運動軍人》2005年作。
\n絲網印刷紙本，image 53.6 x 38.4 cm. ，sheet 69.7 x 49.8 cm
\n拍品194，估價100,000 - 150,000港元
\n二十世紀及當代藝術和設計日間拍賣

班克斯 (Banksy) 《凝固汽油彈》2005年作。
\n絲網印刷紙本，image 37.5 x 58.7 cm.，sheet 50.2 x 70.2 cm
\n拍品192，估價150,000 - 250,000 港元
\n二十世紀及當代藝術和設計日間拍賣

班克斯 (Banksy) 《我對抗過法律》2004年作。
\n絲網印刷紙本，image 66 x 66.1 cm.,sheet 69.7 x 69.7 cm.
\n拍品193，估價60,000 - 80,000 港元
\n二十世紀及當代藝術和設計日間拍賣

班克斯 (Banksy) 《沒有球賽 (綠色)》2009年作。
\n絲網印刷紙本，image 61.1 x 64.1 cm.,sheet 67 x 69.8 cm.
\n拍品200，估價200,000 - 300,000 港元
\n二十世紀及當代藝術和設計日間拍賣
\n

162

Mr.

Bright Days

Full-Cataloguing

Mr.