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Viewing
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\n21-31 March 10am-6pm
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\nThe new rates can be viewed on the Buyer’s Premium page and apply to this auction.
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View & Download e-Catalogue >
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\n","auctionDetailsSmall","Hong Kong Auction 31 March 2023","extraInfo","

Danielle So
\nSpecialist, Head of Day Sale
\n+852 2318 2027
\ndanielleso@phillips.com

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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

\n\n

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。

\n\n

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。

\n\n

\n草間彌生是史上最高拍賣成交紀錄的在世女藝術家

\n\n

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。

\n\n

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。

\n\n

\n\n

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\n

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。

\n\n

\n她自願入住東京的精神病院

\n\n

「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

\n\n

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。

\n\n

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。

\n\n

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。

\n\n

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。

\n\n

\n她終生厭性，卻代表著自由的愛

\n\n

「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

\n\n

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。

\n\n

\n\n

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

\n\n

\n\n

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\n

\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。

\n\n

\n草間彌生的《南瓜》與安迪．沃荷的《湯罐》並駕齊驅

\n\n

「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

\n\n

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。

\n\n

\n\n

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

\n\n

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）。

\n\n

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。

\n\n

\n\n

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

\n\n

\n\n

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\n

\n與路易威登合作之前，她已是一位時尚達人

\n\n

「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

\n\n

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。

\n\n

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。
\n
\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。

\n\n

\n\n

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

\n\n

\n\n

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\n

\n她用波點來忘憂解困

\n\n

「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

\n\n

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。

\n\n

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。

\n\n

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。

\n\n

\n\n

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\n

\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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","publishDate","2023-03-27T14:47:34.000000Z","authorCredit","Veronica Chow","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/118644915/seven-things-you-need-to-know-about-yayoi-kusama-cn","displayOrder",3,"auctionEditorialID",1773,"editorialID",4160,"flocklerID",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",2,1770,4157,118520198,"https://flockler.com/thumbs/sites/889/183977_scf_uc771809-94b91f85-ee95-44ea-9f23-f2e790250cb0_s600x0.jpg","壯麗宏偉的風景畫領銜富藝斯香港二十世紀及當代藝術日間拍賣。","景觀重塑：超越時空","

王俊傑，《畫家》，2016年作
\n估價3,000,000 - 5,000,000港元
\n二十世紀及當代藝術日間拍賣，3月31日

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「風景畫」由十七世紀開始優雅演變，成為現今最受珍視和追捧的藝術流派之一。在萬眾矚目的香港二十世紀及當代藝術日間拍賣中，富藝斯誠意呈獻一系列精美的視覺敘事作品，彌合現實與想像之間的差距。

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從已故王俊傑細膩氛圍的構圖，到賈藹力崇高超然的視野，這個系列蒐羅多種景觀詮釋，既向傳統派系致敬，又挑戰當中的界限。
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傳統風景

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王俊傑，《畫家》，2016年作
\n估價3,000,000 - 5,000,000港元
\n二十世紀及當代藝術日間拍賣，3月31日

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在《畫家》夢幻般的畫面中，王俊傑斷斷續續的厚塗佈滿了整幅畫作，天空被落日的火焰燒得通紅，從大地的裂縫中噴薄而出。一條黃綠相間的斑駁道路像溢出的蜂蜜或熾熱的熔岩，流向掛名的「畫家」，而這位「畫家」正用心繪畫精緻構圖。在王俊傑的畫作中，孤獨人物可被解讀為藝術家的自畫像，既反映了與抑鬱症、自閉症和妥瑞症的個人抗爭，也展現了藝術家在2019年10月不幸離世前的內心世界。

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王俊傑1984年出生於多倫多，這位自學成才的藝術家年近三十才初嚐繪畫，由此開始鑽研藝術大師作品和藝術史。他經常往來港加兩地，將東西方的藝術影響完美結合在個人獨有美學之中，被《紐約時報》的藝評家羅伯塔．史密夫稱為「他這一代最有才華的畫家之一。」

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斯科特·卡恩，《吉卜林公園》，1991年作
\n估價1,000,000 - 1,500,000港元
\n二十世紀及當代藝術日間拍賣，3月31日

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《吉卜林花園》生動地描繪了一個鬱鬱蔥蔥的誘人戶外空間，靈感來自拉迪亞德·吉卜林的淒美詩篇《花園的榮耀》：花園的榮耀遠不止於肉眼所見。吉卜林的詩句突出了園丁的不懈努力，向他們無私奉獻的敬業態度致敬，而卡恩的畫作則希望觀者欣賞別緻花園背後的默默耕耘。

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斯科特·卡恩擅於捕捉四周氛圍的精華，將普通的場景轉化為非凡的視覺敘事，並且因而聞名。他靈活運用色調和構圖，致使花園的寧靜之美栩栩如生。

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斯科特·卡恩，《公爵土墩》，1998年作
\n估價400,000 - 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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受壯麗自然和記憶力的啟發，卡恩的作品喚起了永恒之感和觀者的情感共鳴。在《公爵土墩》中，波浪起伏的大海、盤根錯節的樹枝、精心打造的結構相互合奏，創造了一種饒富節奏的和諧視覺體驗，邀請觀者探索縱橫交錯的場景。藝術家巧妙地平衡了抽象和表象，讓觀者不僅可以識別風景，更可以通過自己的情感視角參與其中。

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大衛·霍克尼，《春日降臨沃爾德蓋特，東約克郡- 2011年4月19日》，2011年作
\n估價700,000 - 900,000港元
\n二十世紀及當代藝術日間拍賣，3月31日

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大衛·霍克尼的畫作《春日降臨沃爾德蓋特，東約克郡- 2011年4月19日》出自一個由61幅iPad繪畫組成的系列。藝術家在該系列中紀錄了母親生前舊居所在的東約克郡布里德靈頓，其中風景由冬至春的變化，完美展現了霍克尼對於綠色、棕色和水仙黃色的精湛運用。

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霍克尼是傑出而創新的藝術家，在職業生涯中通過對各種媒介的實驗打破了「何為藝術」的界限。他於2007年就開始使用數碼媒介，並在2010年開始以iPad創作。《春臨》是霍克尼最早的iPad繪畫作品之一，而本次拍賣標誌著該系列的iPad畫作首次進入拍賣市場。

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他畫筆下對風景的重複性觀察讓人聯想起印象派大師克勞德·莫奈對光線和氛圍的思考，而富有層次的陰影和圓點讓人聯想起喬治・秀拉的點畫法。此外，霍克尼與文森・梵谷共同受對大自然的熱愛所啟發作畫，因此該系列作品的情緒表達亦可與梵谷描繪春天的畫作互相媲美。
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抽象景觀

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格哈特‧里希特，《綠藍紅》，1993年作
\n估價2,500,000 - 3,500,000港元
\n二十世紀及當代藝術日間拍賣，3月31日

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格哈特‧里希特1993年作品《綠藍紅》是藝術家探索抽象的傑出範例，展示他的精湛技法和洋溢才華。作為當代最兼收並蓄的藝術家之一，里希特不斷探索抽象和具像在視覺表現中的可能性。對這位德國畫家來說，具象與抽象之間的二分法只是一種虛構，因為這兩種方法在色彩和構圖上都需要相同的準確性。

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《綠藍紅》出自一個共105幅的布面繪畫系列。該系列作品圍繞著同一主題：使用刮板將綠、藍、紅三種顏色進行混合，創造出無盡的色彩和視覺變化。在本作品中，豐盈朦朧的線條構成不同色彩，彼此流暢地交融，在刮刀的輕壓和撫平作用下順著畫布表面優美地擴展。《綠藍紅》可以與亨利·馬蒂斯1910年的畫作《音樂》來做比較，兩者均用了三種同樣的主色。

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伊黛爾·阿德楠，《無題》，2018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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「當色彩從顏料管裡出來時，我不想去混合它們，因為色彩有一種直接的愉悅和美感。」— 伊黛爾·阿德楠

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觀看《無題》時，首先映入觀者眼簾的是鮮亮動人的色彩。創作過程中，阿德楠憑藉直覺選擇色彩，直接將顏料從顏料管中擠至鋪於桌面的畫布上，使用調色刀而非畫筆。拍品的豐富顏色讓人想到大地色調，反映了阿德楠與自然的緊密聯繫，以及她從現實風景中獲得的靈感，當中靈感尤其取自加州的塔馬佩斯山。

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《無題》創作於藝術家去世前三年的2018 年，也是伊黛爾·阿德楠展示當代美籍阿拉伯裔文化的典範。阿德楠1925年出生於黎巴嫩，遊走於不同媒介之間，游刃有餘；同時對跨文化領域和多學科交流有著深刻理解，因而著稱。

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伊黛爾·阿德楠，《無題》，2016年作
\n估價 400,000 - 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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2016 年作品《無題》是藝術家標誌性視覺語言的又一精美典範，以充滿活力的色彩運用和引人入勝的構圖吸引觀者。藝術家以直覺排列色塊，並以冷暖色調並置，營造出一種迷人的和諧，表達了阿德楠藝術視野的情感深度。與她的大部分作品一樣，拍品通過顏色和形態的純粹喜悅，展示複雜的情感和意念。

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貝爾納‧弗里茨，《Dol》，2018年作
\n估價700,000 - 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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貝爾納‧弗里茨1949年出生於法國聖芒德，以其創新技巧和迷人抽象構圖而聞名。在《Dol》中，弗里茨呈現了他的能力不限於吸引觀者的注意力，還能喚起觀者的好奇和沉思。在他的整個職業生涯中，藝術家不斷探索顏色、材料、創作過程之間的關係，造出吸引觀者回看的獨特作品。

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他的創作過程獨一無二，其中包括回收舊系列的剩餘部分，並將之用於下一個系列。

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「那幅還未乾的單色畫就是一個例子：有一次我在它下面放了一塊畫布，於是從它上面滴下來的顏料就成了另一幅畫的開端。」——貝爾納·弗里茨
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超然景致

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賈藹力，《無題》，2015年作
\n估價 3,000,000 - 4,000,000港元
\n二十世紀及當代藝術日間拍賣，3月31日

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賈藹力1979年出生於中國遼寧省，作為後生代中國畫家，其創作遠離1990年代玩世現實主義藝術運動的社會政治色彩。

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「我相信繪畫可以擁有先驗行為，而不是經驗行為。其實繪畫最可貴的地方在於它能夠實現崇高感。」— 賈藹力

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賈藹力在《無題》中融入來自藝術史和日常生活的各種風格和靈感，進一步探索繪畫的可能性。拍品描繪了淺藍色天空下的一片荒野，而富有層次的前景中，各種場景和敘事正在展開。在這一切的中心，一個孤單的身影走過這片廢墟，代表著賈藹力畫作的一種永恒疏離感和憂傷的情緒。

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賈藹力的畫作可以被解讀為一種置身達利式超現實風景之中的弗洛伊德夢境。

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「有句話說：『我不清楚自己是什麼，但我可以清楚地回答自己不是什麼。』」— 賈藹力

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張英楠，《寂靜世界》，2015年作。
\n估價 200,000 - 300,000港元
\n二十世紀及當代藝術日間拍賣，3月31日

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生於1981年的張英楠是一位嶄露頭角的中國當代藝術家，其作品超越了傳統繪畫的局限，以超凡脫俗的視角，審視人類狀況，以及我們與環境的聯繫。

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在《寂靜世界》中，藝術家讓觀者沉浸在豐富色彩、複雜細節和寧靜安謐的神秘風景中。該系列以廣闊恬靜的空間為特色，其中自然世界和人造結構似乎和諧共存。張英楠的藝術風格以超現實主義和抽象主義的微妙平衡為特色，營造出既熟悉又神秘的氛圍。

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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","2023-03-29T17:06:57.000000Z","https://www.phillips.com/article/118868590/landscape-reimagined-transcending-time-and-space-cn",1783,4170,118868590,"https://flockler.com/thumbs/sites/889/183977_scf_uc771809-4ae8e42c-224a-4e3a-b24d-f652fa1308e0_s600x0.jpg","A Curated Collection of Nature's Majesty at the Phillips 20th Century & Contemporary Art Day Sale in Hong Kong.\n","Landscape Reimagined: Transcending Time and Space","

Matthew Wong, The Painter, 2016
\nEstimate HK$ 3,000,000 - 5,000,000
\n20th Century & Contemporary Art Day Sale, 31 March

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Since its humble beginnings in the 17th century, “landscapes” have gracefully evolved into one of the most cherished and sought-after art genres. In anticipation of the upcoming 20th Century & Contemporary Art Day Sale in Hong Kong, Phillips proudly presents an exquisite selection of visual narratives that bridge the gap between reality and imagination.

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From the ethereal, atmospheric compositions of the late Matthew Wong to the sublime, transcendental visions of Jia Aili, this collection features a range of landscape interpretations that both pay homage to the traditional genre and challenge its boundaries.

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\nTraditional Landscape

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Matthew Wong, The Painter, 2016
\nEstimate HK$ 3,000,000 - 5,000,000
\n20th Century & Contemporary Art Day Sale, 31 March

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Adorned with Wong’s signature impasto technique, the dreamlike landscape in The Painter features a fiery red sky reminiscent of a setting sun bursting through the terrain. A dappled yellow and green road flows like honey or molten lava towards the titular painter, who diligently works on a delicate composition. In Matthew Wong’s works, the solitary figure in the composition is always seen as a self-portrait, reflecting Wong’s own struggles with depression, autism, and Tourette syndrome, and offers a glimpse into his consciousness before his untimely passing in October 2019.

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Born in Toronto in 1984, the self-taught artist began experimenting with art in his late 20s, immersing himself in the study of master painters and art history. Frequently traversing between Hong Kong and Canada, he blended Eastern and Western influences to form a unique aesthetic. As Roberta Smith of The New York Times noted, Wong was “one of the most talented painters of his generation.”

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Scott Kahn, The Kipling Garden, 1991
\nEstimate HK$ 1,000,000 - 1,500,000
\n20th Century & Contemporary Art Day Sale, 31 March

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The Kipling Garden, a vivid portrayal of a lush and inviting outdoor space, draws inspiration from Rudyard Kipling’s poignant poem The Glory of the Garden — “But the Glory of the Garden lies in more than meets the eye.” Just as Kipling’s verse highlights the tireless efforts of gardeners, who tend to their work with dedication and reverence, Kahn’s painting invites viewers to appreciate the unseen labour and devotion that contribute to the garden’s splendour.

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Scott Kahn has been recognised for his ability to capture the essence of the world around him, transforming ordinary scenes into extraordinary visual narratives. His masterful use of colour and composition brings the serene beauty of the garden to life.

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Scott Kahn, Duke's Mound, 1998
\nEstimate HK$ 400,000 - 600,000
\n20th Century & Contemporary Art Day Sale, 31 March

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Inspired by the beauty of nature and the potency of memory, Kahn’s works evoke a sense of timelessness and emotional resonance. In Duke’s Mound, the rhythmic interplay of undulating seas, intricate branches, and carefully crafted structures create a rhythmic and harmonious visual experience, inviting the viewer to explore the intricacies of the scene. The artist masterfully balances abstraction and representation, allowing the viewer to not only recognise the landscape but also engage with it through their own emotional perspective.

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David Hockney, The Arrival of Spring in Woldgate, East Yorkshire in 2011 (twenty eleven) - 19 April, 2011
\nEstimate HK$ 700,000 - 900,000
\n20th Century & Contemporary Art Day Sale, 31 March

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David Hockney’s The Arrival of Spring in Woldgate, East Yorkshire is part of a series of 61 iPad drawings created in 2011, capturing the transition from winter to spring in the landscape near his late mother's home in Bridlington. It perfectly showcases Hockney's technical mastery with vibrant hues of green, brown, and daffodil-yellow.

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Hockney, a prominent and innovative artist, has experimented with various mediums throughout his career, embracing digital art in 2007 and incorporating the iPad into his practice in 2010. The Arrival of Spring in Woldgate, East Yorkshire was one of Hockney’s earliest forays into iPad drawing, and this sale marks the first time this iPad drawing has been offered at auction.

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The repetitive nature of his observations recalls Claude Monet’s meditations on light and atmosphere, while the layers of shading and dots are reminiscent of Georges Seurat’s pointillism. The work also shares an emotive expressivity with Vincent van Gogh’s spring canvases, as both artists were inspired by their love of nature.

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\nAbstract Landscape

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Gerhard Richter, Grün-Blau-Rot, 1993
\nEstimate HK$ 2,500,000 - 3,500,000
\n20th Century & Contemporary Art Day Sale, 31 March

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Gerhard Richter’s 1993 painting, Grün-Blau-Rot, is an exceptional example of the artist's exploration of the abstract, showcasing his technical skills and diverse range. As one of the most eclectic contemporary artists, Richter has delved into the possibilities of both abstract and figurative visual representations. He believes that the dichotomy between figuration and abstraction is fictional, as both approaches require precision in colour and composition.

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Grün-Blau-Rot is part of a prolific series of 105 works that center around the chromatic and visual variations achieved by mixing three colours — green, blue, and red — using a squeegee. The piece features voluptuous and hazy lines where the colours smoothly blend into one another, expanding across the canvas due to the gentle pressure applied by the blade. This painting can be compared to Henri Matisse’s 1910 work, Music, which similarly focuses on the same three primary tones.

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Etel Adnan, Untitled, 2018
\nEstimate HK$ 800,000 - 1,200,000
\n20th Century & Contemporary Art Day Sale, 31 March

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“When the colour comes out of the tube I don’t want to mix it, because there’s such an immediate beauty about the joy of colour.” —Etel Adnan

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The first thing that strikes the viewer when looking at Untitled is its bright, powerful colours. Adnan selected colours intuitively, applying them directly out of the tube onto canvases and forming shapes using a palette knife instead of a brush. The rich hues in this composition are reminiscent of earth tones, reflecting Adnan’s intense connection to nature and her inspiration from actual landscapes, particularly Mount Tamalpais in California.

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Painted in 2018 — three years before the artist’s passing in 2021 — Untitled is a prime example of Etel Adnan’s work in contemporary Arab-American culture. Born in Lebanon in 1925, Adnan was renowned for her fluidity in moving between mediums, engaging in cross-cultural and multidisciplinary exchanges.

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Etel Adnan, Untitled, 2016
\nEstimate HK$ 400,000 - 600,000
\n20th Century & Contemporary Art Day Sale, 31 March

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Untitled, from 2016, is another exquisite exemplar of the artist’s signature visual language that captivates viewers with her vibrant use of colour and compelling composition. The intuitive arrangement of colour blocks, juxtaposing warm and cool tones, creates a mesmerising harmony that speaks to the emotional depth of Adnan's artistic vision. As with much of her oeuvre, this piece expresses complex emotions and ideas through the pure, unadulterated joy of colour and form.

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Bernard Frize, Dol, 2018
\nEstimate HK$ 700,000 - 1,200,000
\n20th Century & Contemporary Art Day Sale, 31 March

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Bernard Frize is a French artist born in 1949 in Saint-Mandé, known for his innovative techniques and captivating abstract compositions. In his painting, Dol, Frize showcases his ability to create works of art that not only capture the viewer’s attention but also evoke both curiosity and contemplation. Throughout his career, Frize has continuously explored the relationships between colours, materials, and processes, resulting in unique pieces that invite the viewer to look at them multiple times.

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His one-of-a-kind creative process involves recycling the remains of one series for the benefit of another.

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“The monochrome that is drying over there is an example: at one point I put a canvas beneath it so that the drops that fall from it provide me with the beginning of another painting.” —Bernard Frize

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\nTranscendental Landscape

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Jia Aili, Untitled, 2015
\nEstimate HK$ 3,000,000 - 4,000,000
\n20th Century & Contemporary Art Day Sale, 31 March

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Born in 1979 in Liaoning Province, China, Jia Aili represents a new generation of Chinese painters who deviate from the socio-political themes of the 1990s Cynical Realism movement.

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“I believe that paintings can possess transcendental behaviour, not empirical behaviour. In fact, the most valuable aspect of painting is its ability to transcend.” —Jia Aili

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In Untitled, Jia Aili masterfully combines various stylistic elements and inspirations from art history and everyday life, pushing the boundaries of what painting can convey. The painting features a desolate landscape with a pale blue sky, where layered scenes and events unfold before the viewer. Amidst the chaos, a lone figure walks through the barren land, symbolising the eternal sense of wandering and the melancholic state of mind that permeates Jia’s work.

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Jia Aili’s paintings can be interpreted through a Freudian lens, with the dreamlike landscapes reminiscent of Salvador Dali's surrealist masterpieces.

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“There is a saying: I am unclear of what I am, but what I am not, I can clearly answer.” —Jia Aili

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Zhang Yingnan, Silent World, 2015
\nEstimate HK$ 200,000 - 300,000
\n20th Century & Contemporary Art Day Sale, 31 March

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Born in 1981, Zhang Yingnan is a rising Chinese contemporary artist whose work transcends the traditional confines of painting, offering an otherworldly perspective on the human condition and our connection to the environment.

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In Silent World, Zhang immerses the viewer in enigmatic landscapes filled with rich colour palettes, intricate details, and a sense of tranquillity. The series features vast, serene spaces where the natural world and human-made structures seem to coexist in harmony. Zhang’s artistic style is characterised by a delicate balance of hyper-realism and abstraction, creating an atmosphere that is both familiar and mysterious.

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20th Century & Contemporary Art Day Sale

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Hong Kong 31 March 2023

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and dated 'THL 21' lower right","dimensions","87.8 x 102.5 cm. (34 5/8 x 40 3/8 in.)","medium","charcoal on paper","sigEdtMan","Executed in 2021.","provenance","Malevich.io, London\r\nAcquired from the above by the present owner","mainImagePath","https://dist.phillips.com/auction-assets/HK010223/183218_001.jpg","additionalImagePaths",[688,689,690],"enhancedLotComponents",[673],"conditionReport","This work is in good condition. Upon very close inspection, there is a minor tear on the top edge near the upper right corner. There is no restoration apparent under Ultraviolet light. This work is framed under glass in a black painted wood frame. Please note, the works have not been checked outside of their frames.",{"_170":72,"_171":172},{"_674":126,"_675":676,"_677":678,"_16":679,"_680":681},"isActive","componentType","RichText","componentId",13876,"DETAIL-HEADER-DISABLED 70256","componentItems",[682],{"_674":126,"_683":684,"_685":686,"_687":-7},"componentItemId",17484,"htmlCaption","

Ash is fundamental. It is the ultimate rendering of anything, the sublimate of all things. Ashes blew in the wind after the sacking of Rome; the library of Alexandria was reduced to a grey powder. We burn joyfully in the wind; a handful of carbon is all that will remain of most of us in the long run.

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The poetry of ash cannot be ignored. Burned wood is smeared on the faces of the Saddhus in the feast of Kumbh Mela; it mixes with the Chrism on the eponymous Wednesday marking the start of Lent; they are cast on the water in the Hebrew Red Heifer; they are the embers glowing in the hearth at dawn. The carbon which copied the imprint of ancient animals in the fossil record.

\n\n

A single piece of charcoal is created by burning willow twigs in airless conditions. And so there is something gently poetic in the rendering of a tree in charcoal. It has the quality of a rite. The tree which gave it’s skeleton to this endeavour is not reconstituted but becomes the medium.

\n\n

It is simultaneously simple and profound, the kind of clear act which reflects an enigma. It is an echo of the mystery of life and the mystery of vision and it uncovers the secret of the reality which we face every day. Our eyes rest on the impossible, solid matter created by particles which of themselves have no substance. It is life from death; being from nonbeing. The miracle and the impossibility of miracles both.

\n\n

Lumley’s drawings are studies in the truest sense of the word. They are an investigation and survey of the topography of a miniature world. As surfaces they are simultaneously delicate and muscular. But there is another aspect to this exercise. They are also a meditation; a spiritual investigation of the geist of the tree, created by observing one and using the cremated remains of another. This is not an intellectual exercise. It is instinctive. The abstract and the actual are united by the work of the human hand.

\n\n

Charcoal is a humble material. It has none of the grand historic associations of oil paint or bronze; it is void of the modernist cachet of acrylic or aluminium; but every great rendering in history was almost certainly born out of it’scontrolled disintegration. Fundamentally it’s also an ancient material. The oldest discovered charcoal cave drawings, created from the stumps of burned firewood, date back almost four hundred centuries.

\n\n

Across this ocean of time discussing the oeuvre of artists from our epoch seems almost superfluous. But as Lumley reaches to the paper and makes his unique contribution to this continuum these moments are and continue to be current. From before remembered time, this is the artist’s thumbprint. The nameless ancients whose images reach to us across an eternity of experience would understand the purpose and the execution of these pictures. It is the black thread of the only true freedom which humans possess. The freedom to dream, to create; lit, hopefully, by a gentle flame, in the presence of family, with a full belly, in a safe cave.

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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

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

傳統風景

王俊傑，《畫家》，2016年作\n估價3,000,000 - 5,000,000港元\n二十世紀及當代藝術日間拍賣，3月31日

斯科特·卡恩，《吉卜林公園》，1991年作\n估價1,000,000 - 1,500,000港元\n二十世紀及當代藝術日間拍賣，3月31日

斯科特·卡恩，《公爵土墩》，1998年作\n估價400,000 - 600,000港元\n二十世紀及當代藝術日間拍賣，3月31日

大衛·霍克尼，《春日降臨沃爾德蓋特，東約克郡- 2011年4月19日》，2011年作\n估價700,000 - 900,000港元\n二十世紀及當代藝術日間拍賣，3月31日

抽象景觀

格哈特‧里希特，《綠藍紅》，1993年作\n估價2,500,000 - 3,500,000港元\n二十世紀及當代藝術日間拍賣，3月31日

伊黛爾·阿德楠，《無題》，2018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

伊黛爾·阿德楠，《無題》，2016年作\n估價 400,000 - 600,000港元\n二十世紀及當代藝術日間拍賣，3月31日

貝爾納‧弗里茨，《Dol》，2018年作\n估價700,000 - 1,200,000港元\n二十世紀及當代藝術日間拍賣，3月31日

超然景致

賈藹力，《無題》，2015年作\n估價 3,000,000 - 4,000,000港元\n二十世紀及當代藝術日間拍賣，3月31日

張英楠，《寂靜世界》，2015年作。\n估價 200,000 - 300,000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日間拍賣

\nTraditional Landscape

Matthew Wong, The Painter, 2016\nEstimate HK$ 3,000,000 - 5,000,000\n20th Century & Contemporary Art Day Sale, 31 March

Scott Kahn, The Kipling Garden, 1991\nEstimate HK$ 1,000,000 - 1,500,000\n20th Century & Contemporary Art Day Sale, 31 March

Scott Kahn, Duke's Mound, 1998\nEstimate HK$ 400,000 - 600,000\n20th Century & Contemporary Art Day Sale, 31 March

David Hockney, The Arrival of Spring in Woldgate, East Yorkshire in 2011 (twenty eleven) - 19 April, 2011\nEstimate HK$ 700,000 - 900,000\n20th Century & Contemporary Art Day Sale, 31 March

\nAbstract Landscape

Gerhard Richter, Grün-Blau-Rot, 1993\nEstimate HK$ 2,500,000 - 3,500,000\n20th Century & Contemporary Art Day Sale, 31 March

Etel Adnan, Untitled, 2018\nEstimate HK$ 800,000 - 1,200,000\n20th Century & Contemporary Art Day Sale, 31 March

Etel Adnan, Untitled, 2016\nEstimate HK$ 400,000 - 600,000\n20th Century & Contemporary Art Day Sale, 31 March

Bernard Frize, Dol, 2018\nEstimate HK$ 700,000 - 1,200,000\n20th Century & Contemporary Art Day Sale, 31 March

\nTranscendental Landscape

Jia Aili, Untitled, 2015\nEstimate HK$ 3,000,000 - 4,000,000\n20th Century & Contemporary Art Day Sale, 31 March

Zhang Yingnan, Silent World, 2015\nEstimate HK$ 200,000 - 300,000\n20th Century & Contemporary Art Day Sale, 31 March

20th Century & Contemporary Art Day Sale

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

王俊傑，《畫家》，2016年作
\n估價3,000,000 - 5,000,000港元
\n二十世紀及當代藝術日間拍賣，3月31日

斯科特·卡恩，《吉卜林公園》，1991年作
\n估價1,000,000 - 1,500,000港元
\n二十世紀及當代藝術日間拍賣，3月31日

斯科特·卡恩，《公爵土墩》，1998年作
\n估價400,000 - 600,000港元
\n二十世紀及當代藝術日間拍賣，3月31日

大衛·霍克尼，《春日降臨沃爾德蓋特，東約克郡- 2011年4月19日》，2011年作
\n估價700,000 - 900,000港元
\n二十世紀及當代藝術日間拍賣，3月31日

格哈特‧里希特，《綠藍紅》，1993年作
\n估價2,500,000 - 3,500,000港元
\n二十世紀及當代藝術日間拍賣，3月31日

伊黛爾·阿德楠，《無題》，2018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

伊黛爾·阿德楠，《無題》，2016年作
\n估價 400,000 - 600,000港元
\n二十世紀及當代藝術日間拍賣，3月31日

貝爾納‧弗里茨，《Dol》，2018年作
\n估價700,000 - 1,200,000港元
\n二十世紀及當代藝術日間拍賣，3月31日

賈藹力，《無題》，2015年作
\n估價 3,000,000 - 4,000,000港元
\n二十世紀及當代藝術日間拍賣，3月31日

張英楠，《寂靜世界》，2015年作。
\n估價 200,000 - 300,000港元
\n二十世紀及當代藝術日間拍賣，3月31日

Matthew Wong, The Painter, 2016
\nEstimate HK$ 3,000,000 - 5,000,000
\n20th Century & Contemporary Art Day Sale, 31 March

Scott Kahn, The Kipling Garden, 1991
\nEstimate HK$ 1,000,000 - 1,500,000
\n20th Century & Contemporary Art Day Sale, 31 March

Scott Kahn, Duke's Mound, 1998
\nEstimate HK$ 400,000 - 600,000
\n20th Century & Contemporary Art Day Sale, 31 March

David Hockney, The Arrival of Spring in Woldgate, East Yorkshire in 2011 (twenty eleven) - 19 April, 2011
\nEstimate HK$ 700,000 - 900,000
\n20th Century & Contemporary Art Day Sale, 31 March

Gerhard Richter, Grün-Blau-Rot, 1993
\nEstimate HK$ 2,500,000 - 3,500,000
\n20th Century & Contemporary Art Day Sale, 31 March

Etel Adnan, Untitled, 2018
\nEstimate HK$ 800,000 - 1,200,000
\n20th Century & Contemporary Art Day Sale, 31 March

Etel Adnan, Untitled, 2016
\nEstimate HK$ 400,000 - 600,000
\n20th Century & Contemporary Art Day Sale, 31 March

Bernard Frize, Dol, 2018
\nEstimate HK$ 700,000 - 1,200,000
\n20th Century & Contemporary Art Day Sale, 31 March

Jia Aili, Untitled, 2015
\nEstimate HK$ 3,000,000 - 4,000,000
\n20th Century & Contemporary Art Day Sale, 31 March

Zhang Yingnan, Silent World, 2015
\nEstimate HK$ 200,000 - 300,000
\n20th Century & Contemporary Art Day Sale, 31 March

286

Thomas Lumley

Oak Study

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Thomas Lumley