ASIAN 20TH CENTURY ART DAY SALE Including a Selection of Japanese Woodblock Prints from Private Collections 亞洲二十世紀藝術日間拍賣包括日本木刻版畫私人珍藏

ASIAN 20TH CENTURY ART DAY SALE Including A Selection Of Japanese Woodblock Prints From Private Collections 亞洲二十世紀藝術日間拍賣包括日本木刻版畫私人珍藏

Hong Kong | 25 November 2018 香港 2018年11月25日 ASIAN 20TH CENTURY ART (DAY SALE) INCLUDING A SELECTION OF JAPANESE WOODBLOCK PRINTS FROM PRIVATE COLLECTIONS 亞洲二十世紀藝術 (日間拍賣) 包括日本木刻版畫私人珍藏 SUNDAY 25 NOVEMBER 2018·2018年11月25日(星期日)

AUCTION．拍賣 Sunday 25 November11月25日期日 1.00pm (Lots 301-602)下1.00品301-602 Location: Grand Hall, Hong Kong Convention and Exhibition Centre, No.1 Expo Drive, Wanchai, Hong Kong 地1中大 AUCTION CODE AND NUMBER 拍賣名稱及編號 Tel +852 2760 1766Fax 傳+852 2760 1767 In sending written and telephone bids or making enquiries, this sale should be referred to as VIEWING．預展 MODERN A18 -13279 HONG KONG, HONG KONG CONVENTION AND EXHIBITION CENTRE 在遞交書面和電話競投表格或查詢拍賣詳情時，請註明拍賣名稱及編號為現代A18 -13279 香港，香港會議展覽中心 Friday, 23 November11月23日期五 CONDITIONS OF SALE．BUYING AT CHRISTIE'S 10.30am – 6.30pm 業務規定．買方須知 This auction is subject to Important Notices and Saturday, 24 November11月24日期 Explanation of Cataloguing Practice, Conditions of SaleBuying at Christie's and reserves of the lots. 10.30am – 7.00pm [450] 此次拍賣受限於重要通知及目錄編列方法之說明、業務規 HIGHLIGHTS PREVIEW．精選拍品預展定- 買方須知及拍品底價。[450] TOKYO, CHRISTIE'S JAPAN 東京，佳士得日本辦事處 Please note that descriptions of Lots in this Tuesday, 23 October10月23日 (期二) 11.00am – 5.00pm catalogue do not include references to conditions. Wednesday, 24 October10月24日 (期三) 11.00am – 6.00pm Condition reports are available on request - please refer to the Important Notices at the back of the JAKARTA, GRAND HYATT JAKARTA catalogue for further information. 雅加達，雅加達君悅酒店敬請注意本拍賣目錄中沒有包括拍品狀況說明，若有 Thursday-Friday, 25-26 October10月25 至26日 (期至五) 11.00am – 7.00pm 需要，請向佳士得公司索取，本公司可以提供此報告。另外，敬請留意閱讀拍賣目錄背頁之 SINGAPORE, HILTON SINGAPORE 《重要通告及目錄編列方法之說明》。新加坡，新加坡希爾頓酒店 Thursday-Friday, 1-2 November11月1 至2日 (期至五) 11.00am – 7.00pm

We may convert and display in our catalogues the BEIJING, CHRISTIE'S BEIJING ART SPACE HK$ estimates in US$. This is for the convenience 北京，佳士得北京藝術空間 of our clients only and is not binding in any way. Friday-Saturday, 2-3 November11月2至3日 (期五至) 10.00am – 6.00pm The rate of exchange is ﬁxed at the latest practical date prior to the printing of the catalogue and may GUANGZHOU, THE RITZ-CARLTON GUANGZHOU change by the time of the sale. 廣州，廣州富力麗思卡爾頓酒店我們可將港元估價轉換成美元並於目錄中顯示。這僅 Tuesday-Wednesday, 6-7 November11月6至7日 (期二至三) 10.00am – 6.00pm 為方便我們的客戶而不具有任何法律約束力。該貨幣兌換率是根據最貼近目錄付印時的兌換率設定，所以 SHANGHAI, CHRISTIE'S SHANGHAI ART SPACE 可能與拍賣當日兌換率有差別。上海，佳士得上海藝術空間 Saturday-Sunday, 10-11 November 11月10 至11日 (期至日) 10.00am – 6.00pm Scan to view auctions details TAIPEI, TAIPEI MARRIOTT HOTEL 掃瞄以瀏覽拍賣詳情台北，台北萬豪酒店 Saturday-Sunday, 10-11 November11月10至11日 (期至日) 11.00am – 6.00pm

ENQUIRIES．查詢 HK +852 2760 1766 UK 英國+44 (0)20 7627 2707 Christie's Hong Kong Autumn Auctions Microsite 佳士得香港秋季拍賣網站 US 國+1 212 703 8080

AUCTIONEERS．拍賣官 Elaine Kwok Caroline Liang christies.com Sara Mao Leila de Vos Van Steenwijk Ronan Sulich

2 Contents．內容

3 Auction Information 拍賣資訊 4 International Asian Art Department 國際亞洲藝術部 5 Specialists and Services for this Auction 是次拍賣的專家及服務 8 Property for Sale 出售物品 375 Conditions of Sale • Buying at Christie's 業務規定．買方須知 383 Symbols used in this Catalogue 本目錄中使用的各類標識 383 Important Notices and Explanation of Cataloguing Practice 重要通知及目錄編列方法之說明

FRONTCOVER 1 & 2: 385 Worldwide Salerooms and Offices and Services (Detail) Lot 407 Zao Wou-Ki, 05.04.63 © 2018 Artists Rights 全球拍賣中心，辦公室及服務 Society (ARS), New York / ProLitteris, Zurich (Detail) Lot 552 Cheong Soo Pieng, Green Construction 387 Written Bids Form FRONTISPIECE: 書面競投表格 (Detail) Lot 404 Chu Teh-Chun, Forces Vives (Powerful Forces) © 2018 Artists Rights Society (ARS), New York / ADAGP, Paris 389 Bidder Registration Form OPPOSITE PAGE: (Detail) Lot 533 Ang Kiukok, Cruxificion ABOVE: Lot 490 Katsushika Hokusai, Fine Wind, Clear Weather 投標者登記表格 (Gaifu kaisei), also known as Red Fuji 391 Christie's Hong Kong Limited BACKCOVER 1 & 2: 佳士得香港有限公司 Lot 466 Ting Yin-Yung, Civilization (Detail) Lot 306 Mai Trung Thu, Mère et Enfants (Mother and Children) © 2018 Artists Rights Society (ARS), New York / ADAGP, Paris

2 INTERNATIONAL ASIAN ART DEPARTMENT SPECIALISTS AND SERVICES FOR THIS AUCTION ASIAN 20TH CENTURY AND CONTEMPORARY ART SPECIALISTS & LIAISONS

GLOBAL MANAGING DIRECTOR CHAIRMAN CHAIRMAN Francis Belin Jonathan Stone Athena Zonars Tel: +852 2978 6756 Deputy Chairman, Asia Deputy Chairman, Americas Tel: +852 2978 9989 Tel: +1 212 636 2177 Eric Chang Joyce Chan Grace Zhuang Dexter How Marcello Kwan Dina Zhang Yunah Jung Gen Ogo Yu-Shan Lu Elise Chen Cindy Lim ASIAN 20TH CENTURY & CHINESE CERAMICS & CHINESE PAINTINGS REGIONAL MANAGING DIRECTORS CONTEMPORARY ART WORKS OF ART Ben Kong, Deputy Chairman, Asia Lillian Ng Eric Chang, Deputy Chairman, Asia Pola Antebi, International Director International Specialist Head of Tel: +852 2978 9995 Chairman, Asia 20th Century and Tel: +852 2978 9950 Department Rachel Orkin-Ramey Contemporary Art Tel: +852 2760 1766 Michael Bass, International Director Tel: +1 212 636 2194 Tel: +852 2760 1766 Tel: +1 212 636 2180 BEIJING Leila de Vos van Steenwijk Vanessa S Pranoto Janice Chana Asia Chiao Ada Tsui Vanessa Chung Fiona Braslau Yunyi Lau Aisi Wang Sihan Hu Raphael Cheng BEIJING Géraldine Lenain, International Director Michael Xie Tel: +44 (0)20 7389 2578 Dina Zhang Chairman's Office, Paris Vicky Liu Nicole Wright SOUTH ASIAN MODERN + CONTEMPORARY ART SPECIALISTS JAPANESE ART SPECIALISTS & LIAISONS Tel: +86 (0) 10 8572 7928 Tel: +33 (0)1 40 76 84 22 Tel: +86 (0) 10 8572 7939 Tel: +852 2978 9952 Leila de Vos van Steenwijk, HONG KONG HONG KONG European Head Joyce Chan Jessie Or HEADS OF SALE MANAGEMENT & Tel: +44 (0)20 7389 2578 Marcello Kwan Carmen Shek Cerne BUSINESS MANAGERS Janice Chan Rosemary Scott (Senior International Amy Cheng Yanie Choi Cindy Lim Academic Consultant) Dr Man Kung Tel: +852 2978 9936 Ada Tsui Sophia Zhou Vanessa Chung BEIJING Yorkie Tam Marie Faiola Deepanjana Klein Sonal Singh Nishad Avari Damian Vesey Salome Zelic Anastasia von Seiji Inami Takaaki Murakami Sihan Hu Dai Dai Frank Yang Tel: +33(0)140 768 610 Seibold Tel: +852 2760 1766 Felix Pei Tel: +852 2760 1766 Meg Kaye Tel: +86 (0) 10 8572 7958 Tel: +44 207 389 2657 ASIAN 20TH CENTURY AND CONTEMPORARY ART JAKARTA LONDON CHAIRMAN SINGAPORE REGIONAL MANAGING COPYRIGHT Vanessa S. Pranoto HONG KONG Dr Malcolm McNeill Annie Lee Eric Chang Dexter How DIRECTOR Nellie Poon Tel: +62(0)21 7278 6268 Chi Fan Tsang Tel: +44 (0)20 7389 2806 Tel: +852 2978 9994 Yunyi Lau Lillian Ng Tel: +852 2978 9973 Ruben Lien Emma Winder HONG KONG Tel: +852 2978 9995 Joyce Chan Tel: +65 6715 9355 NEW YORK Liang-Lin Chen NEW YORK Tel: +1 212 636 2183 Fax: +65 6235 8128 Aisi Wang Sherese Tong Elizabeth Hammer Marcello Kwan HEAD OF SALE MANAGEMENT DEPARTMENT Tel: +1 212 468 7133 Joan Ho Jennie Tang Yiwen Huang Janice Chan JAKARTA & BUSINESS MANAGER Cindy Lim Vanessa S. Pranoto COORDINATOR Timothy Lai Dr Amy Riggs Tel: +886 223 220 007 Annie Lee Ada Tsui Tel: +62 (0) 21 7278 6268 Tel: +852 2978 9994 Sabrina Chien PARIS Tel: +852 2760 1766 Tel: +1 212 636 2193 Vanessa Chung Fax: +62 (0) 21 7278 6282 Tel: +852 2978 6866 Fiona Braslau PRIVATE SALES DIRECTOR Sihan Hu SEOUL Yiwen Huang Tel: +33 (0)1 40 76 85 83 LONDON TAIPEI Nelly Li Tel: +852 2978 6728 Yunah Jung Tel: +886 2 2736 3356 Marco Almeida Kim Yu Tel: +852 2978 6797 Fax: +852 2525 1572 Tel: +822 720 5266 SALE COORDINATORS SEOUL Kate Hunt Tel: +886 2 2736 3356 Fax: +822 722 5444 Yunah Jung Ivy Chan BEIJING Jessica Hsu Dina Zhang TOKYO Tel: +852 2978 6887 Tel: +82 2 720 5266 Katie Lundie TOKYO ASIA REGIONAL OFFICES Tel: +86 (0) 10 8583 1766 Gen Ogo Cecilia Zi Seiji Inami Fax: +86 (0) 10 8572 7901 Chie Kawasaki Kimmy Lau SHANGHAI Caroline Allen (Consultant Export Art) Tel: +81 (0) 3 6267 1778 BANGKOK Tel: +81 (0)3 6267 1766 Tel: +852 2978 6743 Grace Zhuang Tel: +44 (0)20 7389 2577 Prapavadee Sophonpanich SHANGHAI Fax: +81 (0)3 6267 1767 Asia Chiao Tel: +66 (0)2 252 3685 Grace Zhuang Kelvin Li NEW YORK Tel: +86 (0) 21 2226 1516 NEW YORK JAPANESE & KOREAN ART Asia Chiao Tel: +852 2978 6717 Tel: +86 (0) 21 6279 8773 Aisi Wang Fax: +852 2525 1572 Margaret Gristina BEIJING Fax: +86 (0) 21 6279 8771 Tel: +1 212 468 7124 SINGAPORE Olivia Hamilton JAPAN Charlotte Liu PARIS Dexter How Michelle Cheng Katsura Yamaguchi, Tel: +86 (0) 10 8583 1766 TAIPEI Fiona Braslau Yunyi Lau Jessica Chang Manager Director / Yu-Shan Lu Tel: +33 1 40 76 84 14 Tel: +65 6838 7202 Vicki Paloympis International Director, Asian Art JAKARTA Elise Chen Fax: +33 1 40 76 85 86 Ling'ao Tong Tel: +81 3 6267 1766 Charmie Hamami Raphael Cheng TAIPEI Luke Guan Tel: +62 (0)21 7278 6268 Tel: +886 2 2736 3356 Fax: +886 2 2736 4856 Yu-Shan Lu Rufus Chen LONDON Elise Chen Tel: +1 212 636 2180 Anastasia von Seibold KUALA LUMPUR Raphael Cheng Tel: +1 212 636 2211 Tel: +44 (0)20 7752 3127 Jane Ngiam Tel: +886 2 2736 3358 Tel: +65 6735 1766 SOUTH ASIAN MODERN + CONTEMPORARY ART SAN FRANCISCO NEW YORK LONDON MUMBAI NEW YORK TOKYO Andrew Lick Takaaki Murakami SEOUL Damian Vesey Sonal Singh Deepanjana Klein Gen Ogo Tel: +1 415 982 0982 Tel: +1 212 636 2160 Jun Lee +44 207 389 2106 +91 222 280 7905 Nishad Avari Chie Kawasaki Tel: +82 2 720 5266 Salome Zelic Tel: +81 (0) 3 6267 1782 TOKYO +1 212 492 5717 Masahiko Kuze SHANGHAI Tel: +81 (0) 3 6267 1766 Charlotte Liu JAPANESE ART ASIAN ART Tel: +86 (0)21 6355 1766 LONDON NEW YORK TOKYO Anastasia von Seibold Takaaki Murakami Seiji Inami PARIS SINGAPORE +44 207 752 3127 +1 212 636 2158 +81 362 671 778 Tiphaine Nicoul Jane Ngiam Camille de Foresta Tel: +65 6735 1766 Zheng Ma SERVICES Tel: +33 (0)1 40 76 76 05 TAIPEI WRITTEN AND TELEPHONE BIDS & AUCTION RESULTS CLIENT SERVICES Ada Ong CHRISTIE'S LIVE HK: +852 2760 1766 Tel: +852 2760 1766 Tel: +886 2 2736 3356 Tel: +852 2978 9910 UK: +44 (0)20 7627 2707 Email: [email protected] Email: [email protected] US: +1 212 703 8080 TOKYO Internet: www.christies.com POSTSALE SERVICES Katsura Yamaguchi PADDLE REGISTRATION Tel: +852 2760 1766 Tel: +81 (0)3 6267 1777 Tel: +852 2760 1766 CATALOGUES ONLINE Email: [email protected] Email: [email protected] Lotﬁnder® Internet: www.christies.com

EMAIL 23/10/2018 For general enquiries about this auction, emails should be addressed to Sale Co-ordinators(s) at [email protected].

4 MAI TRUNG THU 忠 Mai Trung Thu in his studio in France in the 1960s, playing the dan doc Lot 309 Detail huyen (mono-string instrument) 1960年在她法國的畫，京族

The Delicate Manifestation

In 1960, the great French art critic made his name in the annals of art models within non-ostentatious but distinguished interiors: Maximilien Gautier (1893-1977) was history: the rendition of the essential beautiful but captive, elegant even in their affection, the the first to analyse in great depth structure of the line and the careful women of Mai Thu are a testimony to the "Old World". every element of Mai Thu's pictorial manipulation of colours and ink. The Then, gradually, as shown in the 1952 painting Woman By technique. It was clear to him that the characters are clearly fixed - almost the Window (Lot 303) the exterior does not impose itself but artist was inspired by the six principles imposed - on the silk by the use of the proposes: the Vietnamese woman is not just a mother or a girl. formulated by a sixth century Chinese black ink (essentially for hair). Then, She becomes emancipated and the enormous round windows portrait painter (himself inspired by a the application of gouache in limited symbolizes the call from the outside world. long lineage of predecessors). First, to colours, without mixture, clear aplats Maternity (Lot 309), dated in 1955 shows us a mother 'outside seize the vital rhythm; second, a rendition to finish the work. But this simplicity is the walls', showing a great tenderness for her child. of the essential structure of the line; only an appearance as the attentive eye third, necessity of resemblance; fourth, can track the lighter touches, the subtle Lot 304, La Douleur (Pain) , dated 1966 refocuses on this careful manipulation of colours and ink; scratchings of gouache and can imagine woman who seems contrite by the return of war in Vietnam fifth, special care for the composition the learned dosages the artist carefully (indeed, Mai Thu was very saddened by this). and the role of space; sixth, benefit used. Therefore, a work by Mai Thu needs Lot 307, Jeune Femme Endormie (Young Lady Sleeping), dated in copying the ancient to create new to be admired closely for its finer details. 1967 is a manifestation of sweetness and will to learn. possibilities. Gautier added that, for him, If the technique remains constant in Lot 305, Orchid in Dragon Vase , dated 1979, is an extremely Mai Thu's paintings were the "delicate time, the nine-works presented here - rare subject painted the final year of the artist's life, the last manifestation" of these principles. dated 1941 to 1979 - allow us to highlight allegory in the quest for the essence of things. As for the Any great painter - and Mai Thu is the two trends, among others: the painter previous three works the background becomes secondary, it is epitome of this- knows how to capture "isolates" his models and simplifies its no longer a decor but a way of highlighting the main object. the vital rhythm. We can imagine here background. To strengthen this re-centring the painter makes his own the level of care needed for Mai Thu to Dated 1941, the poster named Annamite frames in the 1950's, to enhance the pictorial work. search inspiration in the ancients and (Lot 308) and marked with a stamp use them as models. We can also see the is unique and atypical. It is worth Jean-François Hubert importance of resemblance expressed in mentioning that the old term "Annamite" Senior Expert, Vietnamese Art a kind of assumed naivety. But these 4 used by the artist (Annamese) was never points are more general principles that pejorative as some tried to propagate. could characterize any artist of value, Girl with Birdcage,1943 (Lot 301), Mother being oriental or western. and Child, 1947 (Lot 302) and Mother Two other points explain how Mai Thu and Child, 1946 (Lot 306) show generic

Lot 306 Lot 305 Detail

6 301 302 MAI TRUNG THU 忠 MAI TRUNG THU 忠 ±VIETNAM, 1906²1980³ ±，1906²1980³ ±VIETNAM, 1906²1980³ ±，1906²1980³

La Jeune Femme et la Cage à Oiseaux (Girl with Birdcage) 女和籠 Mère et Enfant (Mother and Child) signed 'MAI THU' and dated '1943' (upper left) signed 'MAI THU' and dated in Chinese (lower right) 水水水水 ink and gouache on silk ink and gouache on silk 1943 1947 46 x 35 cm. (18 ⅛ x 13 ¾ in.) 年作 46 x 54.5 cm. (18 ⅛ x 21 ½) 年作 Painted in 1943 藝術家印一 Painted in 1947 藝術家印一 one seal of the artist ：MAI THU 1943 (左上) one seal of the artist ：MAI THU 四十 (右)

HK$200,000300,000 HK$300,000 400,000 US$26,00038,000 US$39,000 51,000

PROVENANCE 來源 Private Collection, Argentina 根人收藏

8 304 MAI TRUNG THU ±VIETNAM, 1906²1980³ La Douleur (Pain)

signed 'MAI THU' and dated in Chinese '66' (upper left) ink and gouache on silk in the artist's original frame 26 x 15 cm. (10 ¼ x 5 ⅞ in.) Painted in 1966 One seal of the artist

HK$200,000300,000 US$26,00038,000

忠 ±，1906²1980³

水水藝術家原 1966年作 : MAI THU 十年(左上) 藝術家印一

305 304 MAI TRUNG THU ±VIETNAM, 1906²1980³ Orchid in Dragon Vase

signed 'MAI THU' and dated in Chinese '79' (lower right) ink and gouache on silk laid on board in the artist's original frame 35.7 x 21.8 cm. (14 x 8 ⅝ in.) Painted in 1979 one seal of the artist

HK$160,000200,000 US$21,00026,000 303 PROVENANCE MAI TRUNG THU 忠 Anon. Sale, Sotheby's Hong Kong, 6 April 2013, Lot 290 Acquired from the above sale by the present owner ±VIETNAM, 1906²1980³ ±，1906²1980³ Private Collection, France Woman by the Window 邊的女 signed 'MAI THU' and dated in Chinese '52' (upper right) 水水忠 ink and gouache on silk 1952 ±，1906²1980³ 28 x 21 cm. (11 x 8 ¼ in.) 年作 Painted in 1952 : MAI THU 五十二 (右上) one seal of the artist 藝術家印一龍花

HK$240,000320,000 水水於木藝術家原 1979年作 US$31,00041,000 : MAI THU 十年 (右) 藝術家印一 PROVENANCE 來源 Anon. Sale, Sotheby's Hong Kong, 6 April 2013, Lot 299 2013年4月6日蘇富 299 來源 Acquired from the above sale by the present owner 藏者自上 2013年4月6日蘇富 290 Private Collection, France 法國人收藏藏者自上 305 法國人收藏 10 PROPERTY FROM THE FAMILY OF ROBERT W. KACZYNSKI 307 ROBERT W. KACZYNSKI 家人收藏 MAI TRUNG THU ±VIETNAM, 1906²1980³ Jeune Femme Endormie (Young Lady Sleeping)

signed 'MAI THU' and dated in Chinese '67' (upper right) ink and gouache on silk laid on board in the artist's original hand-carved frame 15 x 18 cm. (5 ⅞ x 7 ⅛ in.) Painted in 1967 one seal of the artist

HK$180,000280,000 US$24,00036,000

PROVENANCE Anon. Sale, Sotheby's Hong Kong, 6 April 2013, Lot 283 Aquired from the above sale by the present owner Private collection, France

忠 ±，1906²1980³

中的女

水水於木藝術家原手 1967年作 307 ：MAI THU 十年 (右上) 藝術家印一

來源 308 2013年4月6日蘇富 283 藏者自上 MAI TRUNG THU 法國人收藏 ±VIETNAM, 1906²1980³ Original One-Man Show Posters

ink and gouache on paper Poster 1: 53 x 38.8 cm. (20 ⅞ x 15 ¼ in.) Poster 2: 52 x 37 cm. (20 ½ x 14 ⅝ in.) Painted in 1941 (2)

HK$70,00090,000 306 US$9,00012,000 MAI TRUNG THU 忠 PROVENANCE Anon. Sale, Sotheby's Hong Kong, 6 April 2013, Lot 299 ±VIETNAM, 1906²1980³ ±，1906²1980³ Acquired from the above sale by the present owner Private Collection, France Mère et Enfants (Mother and Children) 和 signed 'MAI THU' and dated in Chinese '46' (lower left) oil on silk laid on board 忠 1946年作 78 x 62.5 cm. (30 ¾ x 24 ¾ in.) ±，1906²1980³ Painted in 1946 ：MAI THU 四十 (左) one seal of the artist 藝術家印一原報

HK$600,000800,000 水水本 US$77,000100,000 1941年作(2)

PROVENANCE 來源來源 DuMouchelles Art Gallery, Detroit, Michigan, USA 美國根特 DuMouchelles畫廊 2013年4月6日蘇富 299 Acquired from the above by the present owner 藏者自上畫廊藏者自上 308-1 308-2 法國人收藏

12 PROPERTY FROM AN IMPORTANT AMERICAN PRIVATE COLLECTION 美國重要人收藏

309 310 MAI TRUNG THU 忠 LE PHO ±VIETNAM, 1906²1980³ ±，1906²1980³ ±VIETNAM, 1907²2001³ ±，1907²2001³

Maternité 愛 Mother and Children with Flowers 花中的 signed 'MAI THU' and dated in Chinese '55' (lower left) signed 'Le pho' and signed again in Chinese (lower right) 水水藝術家原水水 ink and gouache on silk in the original frame by the artist ink and gouache on silk 1955年作 1958 36 x 22 cm. (14 ⅛ x 8 ⅝ in.) 63 x 90 cm. (24 ¾ x 35 ⅜ in.) 約年作 Painted in 1955 : Mai Thu五十五 (左) Painted circa. 1958 ： Le pho (右) one seal of the artist 藝術家印一 HK$200,000300,000 HK$280,000380,000 US$26,00038,000 US$36,00049,000 PROVENANCE 來源 PROVENANCE 來源 Private Collection, USA 美國人收藏 Anon. Sale, Christie's Hong Kong, 25 November 2012, Lot 183 2012年11月25日士得 183 Acquired from the above sale by the present owner 藏者自上 Private Collection, France 法國人收藏

14 PROPERTY FROM THE FAMILY OF ROBERT W. KACZYNSKI PROPERTY FROM AN IMPORTANT AMERICAN PRIVATE COLLECTION ROBERT W. KACZYNSKI 家人收藏美國重要人收藏 312 LE PHO ±VIETNAM, 1907²2001³ Couture (Sewing)

signed 'Le pho' and signed again in Chinese (lower right) ink and gouache on silk laid on paper 39 x 24 cm. (15 ⅜ x 9 ½ in.) Painted circa. 1955-1956

HK$120,000180,000 US$16,00023,000

PROVENANCE Private Collection, USA

±，1907²2001³

水水於本約1955-1956年作： Le pho (右)

來源美國人收藏

PROPERTY FROM AN IMPORTANT AMERICAN PRIVATE COLLECTION 312 美國重要人收藏

313 LE PHO ±VIETNAM, 1907²2001³ Lady in the Garden

signed 'Le pho' and signed again in Chinese (lower right) ink and gouache on silk 311 33.5 x 22.5 cm. (13 ¼ x 8 ⅞ in.) Painted circa. 1956 LE PHO HK$100,000160,000 ±VIETNAM, 1907²2001³ ±，1907²2001³ US$13,00021,000 Mère et I'Enfant (Mother and Child) PROVENANCE signed 'Le pho' and signed again in Chinese (lower right) 於木 oil on silk laid on board Private Collection, USA 1960 50.5 x 38 cm. (20 x 15 in) 約年作 Painted circa. 1960 ： Le pho (右) HK$180,000220,000 ±，1907²2001³ US$24,00028,000 花園裡的女來源 PROVENANCE 美國蘇 Beard畫廊水水 Beard Art Galleries, Minnesota, USA 美國根特 DuMouchelles畫廊約1956年作 DuMouchelles Art Gallery, Detroit, Michigan, USA 藏者自上： Le pho (右) Acquired from the above by the present owner 來源美國人收藏 16 313 PROPERTY FROM AN IMPORTANT AMERICAN PRIVATE COLLECTION 美國重要人收藏

314 VU CAO DAM 武高 315 ± 1908²2000³ ±VIETNAM, 1908²2000³ ， VU CAO DAM 武高 Maternité (Maternity) 愛 ±VIETNAM, 1908²2000³ ±，1908²2000³ signed and dated 'vu cao dam 66' (lower right) 畫 oil on canvas Divinité (Divinity) 神性 1966年作 80.5 x 65.5 cm. (31 ¾ x 25 ¾ in.) oil on canvas ：vu cao dam 66 (右) 畫 Painted in 1966 65 x 54 cm. (25 ⅝ x 21 ¼ in.)

HK$240,000320,000 HK$60,00080,000 US$31,00041,000 US$7,70010,000

PROVENANCE 來源 PROVENANCE 來源美國 Viseboxse畫廊 Vixseboxse Art Galleries, Ohio, USA Private Collection, USA 美國人收藏 Private Collection, USA 美國人收藏

18 PROPERTY FROM AN IMPORTANT AMERICAN PRIVATE COLLECTION PROPERTY FROM AN IMPORTANT AMERICAN PRIVATE COLLECTION 美國重要人收藏美國重要人收藏

317 LE PHO ±VIETNAM, 1907²2001³ Composition

signed 'Le pho' and signed again in Chinese (lower right) oil on canvas 45 x 32 cm. (17 ¾ x 12 ⅝ in.) Painted circa. 1970

HK$80,000120,000 US$11,00015,000

PROVENANCE Private Collection, USA

±，1907²2001³

圖

畫 318 約1970年作： Le pho (右) 318 來源美國人收藏 LE PHO ±VIETNAM, 1907²2001³ Two Girls with Flowers

signed 'Le pho' and signed again in Chinese (lower right) oil on canvas 45.5 x 54.5 cm. (17 ⅞ x 21 ½ in.) Painted circa. 1970

HK$100,000150,000 US$13,00019,000

PROVENANCE 316 Anon. Sale, Christie's Singapore, 30 September 2001, Lot 297 Acquired from the above sale by the present owner LE PHO Private Collection, USA ±VIETNAM, 1907²2001³ ±，1907²2001³ Le Lecture (Reading) 之中 ±，1907²2001³ signed 'Le pho' and signed again in Chinese (lower right) 於木 mixed media on silk laid on board 女花 1956 64 x 49 cm. (25 ¼ x 19 ¼ in.) 約年作 Painted circa. 1956 : Le pho (右) 畫約1970年作 HK$180,000280,000 ： Le pho (右) US$24,00036,000 來源 2001年9月30日新坡士得 297 PROVENANCE 來源藏者自上 Findlay Galleries, Chicago, USA 美國 Findlay畫廊美國人收藏 Acquired from the above by the present owner 藏者自上畫廊 Private Collection, New Jersey, USA 美國人收藏

317 20 319 ARIE SMIT ±INDONESIA, 1916²2016³ Temple Landscape

signed 'arie' and inscribed 'Bali' (lower left) mixed media on canvas 58 x 68.5 cm. (23 x 27 in.)

HK$70,00090,000 US$9,00012,000

PROVENANCE Private Collection, USA

．特 ±印，1916²2016³

景

畫 : arie Bali (左)

來源美國人收藏

319

320 ARIE SMIT ±INDONESIA, 1916²2016³ Under The Banyan Tree

signed 'arie' and inscribed 'Bali '60' (lower left) oil on canvas 35.5 x 48 cm. (14 x 19 in.) 321 Painted in 1960

HK$100,000160,000 ARIE SMIT ．特 US$13,00021,000 ±INDONESIA, 1916²2016³ ±印，1916²2016³

PROVENANCE Pura (Temple) 神 Private Collection, USA signed 'arie smit', inscribed 'Bali' and dated '79'

(lower right) 畫 oil on canvas 1979年作．特 76.5 x 91.5 cm. (30 ⅛ x 36 in.) ：arie smit Bali 79 (右) Painted in 1979 ±印，1916²2016³ 來源 HK$700,000800,000 樹 2006年4月16日新坡蘇富 42 US$90,000100,000 藏者自上畫 1960年作 PROVENANCE 320 : arie Bali 60 (左) Anon. Sale, Sotheby's Singapore, 16 April 2006, Lot 42 Acquired from the above sale by the present owner 來源美國人收藏

22 323 ARIE SMIT ．特 322 ±INDONESIA, 1916²2016³ ±印，1916²2016³ ARIE SMIT 特 Sunrise 日出 ±印，1916²2016³ ±INDONESIA, 1916²2016³ signed 'arie smit' and dated '91' (lower right); titled 'Sunrise', inscribed 畫 'oil', signed and dated again (on the reverse) Blue Landscape 1991 景觀 oil on canvas 年作：arie smit 91 (右); Sunrise oil arie smit 91 (畫) signed 'arie', inscribed '-Bali-' and dated '78' (lower right) 66 x 59 cm. (26 x 23 ¼ in.) 畫 acrylic on canvas Painted in 1991 1978年作 40 x 44 cm. (15 ¼⁄¾ x 17 ⅜ in.) Painted in 1978 : arie -Bali- '78 (右) HK$380,000480,000 US$49,00062,000 HK$80,000100,000

US$11,00013,000 PROVENANCE 來源 Private Collection, Asia 洲人收藏 PROVENANCE 來源

Private Collection, United Kingdom 英國人收藏 LITERATURE 《Agus Dermawan T.，Puisi Warna Arie Smit》，印， Agus Dermawan T., Puisi Warna Arie Smit, Indonesia, Yayasan Seni Rupa AIA 美國師會美術金會(圖版，110) (Illustrated, p. 110)

24 PROPERTY OF AN IMPORTANT ASIAN PRIVATE COLLECTION 洲重要人收藏

324 ARIE SMIT ．特 325 ± 1916²2016³ ±INDONESIA, 1916²2016³ 印， WILLEM GERARD HOFKER 夫 Landscape Bali 里風景 ±THE NETHERLANDS, 1902²1981³ ±，1902²1981³ signed 'arie smit' and dated '01' (lower right); titled 'Landscape 畫 Bali', inscribed 'acr/canvas Talens, Holland', signed and dated Portrait of Ni Siti 的 2001年作 again (on the reverse) signed 'W. G. Hofker' (lower left); titled 'Ni Siti' (upper left); inscribed and ：arie smit 01 (右); Landscape Bali acr/canvas 特筆本 acrylic on canvas dated 'Bali 1939' (upper right) 1939 47 x 56 cm. (18 ½ x 22 in.) Talens, Holland arie smit 01 (畫) conte crayon and pencil on paper 年作 Painted in 2001 28 x 21 cm. (11 x 8 ¼ in.) ： W.G. Hofker (左); Ni Siti (左上); Bali 1939 (右上) Executed in 1939 HK$100,000200,000 US$13,00026,000 HK$120,000180,000 US$16,00023,000 PROVENANCE 來源 Private Collection, Asia 洲人收藏

26 326 327 ADRIEN²JEAN LE MAYEUR DE MERPRÈS 耶 ADRIEN²JEAN LE MAYEUR DE MERPRÈS 耶 ±BELGIUM, 1880²1958³ ±比時，1880²1958³ ±BELGIUM, 1880²1958³ ±比時, 1880²1958³

Garuda Dancer 舞者 Two Women In Nature 大自然中的女 signed 'J. Le Mayeur' (lower left) signed 'J. Le Mayeur' (lower right) 本原手里本原手里 mixed media on paper in the original hand-carved Balinese Frame mixed media on paper in the original hand-carved Balinese Frame ：J. Le Mayeur (左) ：J. Le Mayeur (右) 48.5 x 64 cm. (19 ⅛ x 25 ¼ in.) 55 x 38 cm. (21 ⅝ x 15 in.)

HK$250,000350,000 HK$120,000180,000 US$33,00045,000 US$16,00023,000

PROVENANCE 來源 Private Collection, Switzerland 士人收藏

28 329 THEO MEIER ±SWITZERLAND, 1908²1982³ Coastal Landscape

signed 'Theo Meier' (lower left) oil on canvas 65.5 x 53 cm. (25 ¾ x 20 ⅞ in.)

HK$70,00090,000 US$9,00012,000

PROVENANCE Private Collection, Switzerland

耶 ±士，1908²1982³

景觀

畫：Theo Meier (左)

來源士人收藏

330 THEO MEIER ±SWITZERLAND, 1908²1982³ Bathing Ladies

signed 'Theo Meier' (lower left) oil on canvas 75 x 63 cm. (29 ½ x 24 ¾ in.)

HK$120,000220,000 US$16,00028,000

PROVENANCE 328 Private Collection, Switzerland 耶 ADRIEN²JEAN LE MAYEUR DE MERPRÈS 耶 ±比時, 1880²1958³ ±BELGIUM, 1880²1958³ ±士，1908²1982³ Two Women Dancing in the Fields 田中舞的女女 signed 'J. Le Mayeur' (lower right) 本原手里 mixed media on paper in the original hand-carved Balinese Frame 畫 : J. Le Mayeur (右) 55 x 38 cm. (21 ⅝ x 15 in.) ：Theo Meier (左)

HK$120,000180,000 來源 US$16,00023,000 士人收藏

PROVENANCE 來源 Private Collection, Switzerland 士人收藏

30 331 THEO MEIER ±SWITZERLAND, 1908²1982³ Landscape

signed 'Theo Meier' (lower left) oil on canvas 46 x 31 cm. (18 ⅛ x 12 ¼ in.)

HK$50,00070,000 US$6,5009,000

PROVENANCE Private Collection, Switzerland

耶 ±士，1908²1982³

景觀

畫：Theo Meier (左)

來源士人收藏

332 THEO MEIER ±SWITZERLAND, 1908²1982³ View of House on Mae Ping River

signed 'Theo Meier' (lower left) oil on canvas 60 x 70 cm. (23 ⅝ x 27 ½ in.)

HK$80,000120,000 US$11,00015,000 333 PROVENANCE Acquired directly from the artist by Prince Sanidh Rangsit THEO MEIER 耶 Collection of Princess Christine Rangsit ±SWITZERLAND, 1908²1982³ ±士，1908²1982³ 耶 Standing Nude 站女 signed 'theo meier' and dated '50' (lower right) ±士，1908²1982³ 木 oil on board 1950年作 59.5 x 41.5 cm. (23 ⅜ x 16 ⅜ in.) 平邊屋的景觀 Painted in 1950 ： theo meier 50 (右)

畫 HK$90,000120,000 : Theo Meier (左) US$12,00015,000 來源 Sanidh Rangsit得自藝術家本人 PROVENANCE 來源 Christine Rangsit公主人收藏 Galerie Maris, Haarlem, The Netherlands Maris畫廊

32 335 334 ROLAND STRASSER ROLAND STRASSER ±AUSTRIA, 1885²1974³ ±AUSTRIA, 1885²1974³ Fishermen and Prau Along the Indonesian Coast Balinese Dancer signed 'Straßer' (lower left) signed ‘straßer’' (lower right) oil on canvas 97 x 51 cm. (38 ¼ x 20 ⅛ cm.) 100 x 74 cm. (39 ⅜ x 29 ⅛ in.) oil on canvas HK$40,00060,000 HK$180,000280,000 US$5,2007,700 US$24,00036,000

PROVENANCE ．拉 Anon. Sale, Christie's Amsterdam, 12 March 2013, Lot 111 Acquired from the above sale by the present owner ±地，1885²1974³

里舞者．拉 ±地，1885²1974³ 畫 : 'straßer' (右) 印邊的夫和

畫 : straßer (左)

來源 2013年3月12日特士得 111 藏者自上 335

PROPERTY OF AN IMPORTANT ASIAN PRIVATE COLLECTION 洲重要人收藏

336 ANTONIO BLANCO ±PHILIPPINES, 1912²1999³ Nude with Love Birds

signed 'Antonio Blanco' (lower middle); artist's label affixed on the reverse mixed media on paper in the original frame by the artist diameter: 37 cm. (14 ⅝ in.) Executed in 1983

HK$40,00060,000 US$5,2007,700

PROVENANCE Private Collection, Asia

安東 ±，1912²1999³

女

本藝術家原 1983年作：Antonio Blanco (中); 畫家作於畫 336 來源 34 洲人收藏 Le Pho: The Emancipated Confucian 放無的人

The representation of a couple remains rare 在作品中，女的作表十見。 in the work of Le Pho. 在時期。他對女性充滿讚 Himself an orphan at a very young age, he 美，本身愛大自然；他許多作表均以 was an adulator of women, a nature lover and 美的性之姿、美優雅的女、的 many of his representations were essentially 花為主(根據本人，這花是新 soft maternities, beautiful and elegant 的)。 women, bunches of flowers (all freshly picked, according to his own testimony). 這幅於畫的作品，優美卻充滿，描了無花中的愛 (品 338)。他 This beautiful and enigmatic work on silk depicts Couple d'Amoureux Parmi les 們的姿和景是的，心：一方 Feuilles de Figuier (Loving Couple Among 面，情人的和雖十傳 the Fig Leaves)(Lot 338). Their positioning 統，但一面來，將畫中女 and environment are not indifferent: if on 於傳統的家角，學曾是藝術家所處 one hand the clothes and the hairstyles 的中國學術。順服經時，此 for both are traditional, on the other the 將女主角在中心，她的和，但 painter refuses to limit this woman in a strict 是，國服「」的 Confucian role even though it used to be 著，她動作地將自和愛在四的 Le Pho's mandarin scholarly environment. 中，樹將觀者於。們 Submission is no longer appropriate so he 一：觀者心 – 此畫面 places her as the central figure with a soft 有花、景是以中性為主。主角身 face but a firm presence, salient breasts 退方，他被女深深住，得那有 under the ao dai, quick in her movement 自；他在對方：女對他的 to enclose the foliage creating a hedge of 要，他其要對方。 separation with the observer. One can notice - as if the painter did not want to distract 此畫所傳的十：愛情勝過 the observer - the absence of flowers and ，女平，人會來得重要。 the neutral background. The man, holding 對，的中國學會是風中 back, is more captivated than he is confident, ，藝術政治為優。畫家以畫筆 searching for reassurance: he needs the 神一。在作畫過，經見他 woman more than she needs him. 會回國。年之，他經巴 Le Pho's message is clear: love exceeds ，愛特相遇，過了55年人 authority, the woman is the equal of the man 的時 and the individual is more important than society. 對自，人高 337 (1862年) – 他完相，忠於 For Le Pho the old mandarin society was ，且深受： RUDOLF BONNET 夫 dying and the artistic revolution was more important than the political reform. The 中，愛的祖國，愛的家。 ±，1895²1978³ ±THE NETHERLANDS, 1895²1978³ painter votes with his brush. And when he 故在，人不。 paints, Le Pho already anticipates that he (自Tu Tiny Khuc) Portrait of A Man will never return to his native country. A signed 'R. Bonnet' (upper right); inscribed and dated 'Bali 1956' 畫 few years later, always in Paris, he will meet (upper left) Jean-François Hubert 1956 Paulette his wife, who will offer him 55 years oil on canvas 年作 Senior Expert, Vietnamese Art of happiness... 76 x 43 cm. (29 ⅞ x 16 ⅞ in.) : R. Bonnet (右上); Bali 1956 (左上) 術家 Painted in 1956 A man of conviction, Le Pho is a reminder of Cao Ba Nha (died in 1862) - who, contrary HK$400,000600,000 to him, remained faithful to the Confucian US$52,00077,000 principles, suffering the stigma: Sadness in my heart, dear fatherland, dear PROVENANCE 來源 family The site remains the same but the Private Collection, USA 美國人收藏 men are no longer (excerpt from Tu Tiny Khuc). Lot 338 Detail

36 PROPERTY FROM AN IMPORTANT AMERICAN PRIVATE COLLECTION 美國重要人收藏

338 339

LE PHO LE PHO ±VIETNAM, 1907²2001³ ±，1907²2001³ ±VIETNAM, 1907²2001³ ±, 1907²2001³

Couple d'Amoureux Parmi les Feuilles de Figuier 無花中的愛 La Jeune Fille aux Pivoines (Girl with Peonies) 女 (Loving Couple Among the Fig Leaves) signed 'Le pho' and signed again in Chinese (upper right) 水水水水 ink and gouache on silk signed 'Le pho' and signed again in Chinese (lower right) 1940 約1938-1940年作 30.5 x 22.5 cm. (12 x 8 ⅞ in.) 年代作 ink and gouache on silk ： Le pho (右) Painted in 1940s ： Le pho (右上) 57.5 x 30 cm. (22 ⅝ x 11 ¾ in.) 藝術家印一 one seal of the artist 藝術家印一 Painted circa. 1938-1940 one seal of the artist HK$400,000600,000 HK$800,0001,500,000 US$52,00077,000 US$110,000190,000 PROVENANCE 來源 1960年代得自藝術家本人 PROVENANCE 來源 Acquired directly from the artist in the 1960s 法國巴 Charles Brisset 師收藏 Private Collection, USA 美國人收藏 Collection of Doctor Charles Brisset, Paris, France Thence by descent to the present owner 藏者自上來源 Private Collection, France 法國人收藏 38 341 PROPERTY FROM AN IMPORTANT AMERICAN PRIVATE COLLECTION NGUYEN PHAN CHANH 美國重要人收藏 ±VIETNAM, 1892²1984³ Exorcism

signed and inscribed in Chinese (middle left) ink and gouache on silk 46 x 62.5 cm. (18 ⅛ x 24 ⅝ in.) Painted circa. 1960 following the 1931 original version one seal of the artist

HK$100,000160,000 US$13,00021,000

PROVENANCE Collection of Le Pho Acquired from the above collection by the previous owner Private Collection, USA 正 ±，1892²1984³

水水約1960年作據1931年原作版本藝術家印一 341 : 年，。正手。(中左) 來源收藏前藏者自上收藏美國人收藏

PROPERTY FROM AN IMPORTANT AMERICAN PRIVATE COLLECTION 342 美國重要人收藏 NGUYEN KHANG ±VIETNAM, 1912²1989³ Lady with a Cat

signed in Chinese (middle right) ink and gouache on silk 51 x 47 cm. (20 ⅛ x 18 ½ in.) Painted circa. 1940 340 HK$120,000180,000 LE PHO US$16,00023,000 ±VIETNAM, 1907²2001³ ±，1907²2001³ PROVENANCE Les Deux Soeurs (Two Sisters) Anon. Sale, Christie's Singapore, 4 October 1998, Lot 365 Acquired from the above sale by the present owner signed 'Le pho' and signed again in Chinese (upper left) 水水 Private Collection, USA ink and gouache on silk 1940 24.5 x 20.5 cm. (9 ⅝ x 8 ⅛ in.) 約年作 Painted circa. 1940 : Le pho (左上) ±，1912²1989³ one seal of the artist 藝術家印一

HK$240,000320,000 女

US$31,00041,000 水水約1940年作 PROVENANCE 來源 : (中右) Anon. Sale, Sotheby's Hong Kong, 6 October 2008, Lot 953 2008年10月6日蘇富 953 Acquired from the above sale by the previous owner 前藏者自上來源 Anon. Sale, Sotheby's Hong Kong, 6 April 2014, Lot 322 2014年4月6日蘇富 322 1998年10月4日新坡士得 365 Acquired from the above sale by the present owner 藏者自上藏者自上美國人收藏 Private Collection, France 法國人收藏 342 40 VU CAO DAM 武高 Lot 344 Detail

About 25 years ago during a long interview, at the end of 1949, then in Vence in 1952. 石、、和石頭是他作為家用以表 when asked this question, "Who do you feel is Yannick Vu-Jakober, the artist's daughter has 的。本的和水是他一喜 the greatest Vietnamese painter of the 20th kindly confirmed to us the date of Portrait 用的作畫，但來了1950年代，他 century?", the great master painter Le Pho of a Young Girl (Lot 343) and we know that 在中入，成新的畫，作品《 answered me in a straight forward manner, the sitter then was Anna, the painter's niece. 女》品343中見。1963年 without any hesitation "Vu Cao Dam". One Vu Cao Dam was particularly faithful to his 繼美國 Wally Findlay 畫廊約， could argue that being such an elegant man, culture and favoured the representations of 作畫作品，《愛》品314、 Le Pho would value his strong friendship with Vietnamese subjects, but much more than 《神性》品315、《》品 Vu Cao Dam and name him first, but he was that, he had the will to catch eternity, and 344和大幅作品《神》品345 genuinely convinced in his opinion, that Vu was undoubtedly successful. 和《》品346是時的作。 Cao Dam was clearly the very best. 約二十五年前，在畫的一此作品充藝術家的藝，畫面是 Vu Cao Dam actively participated in the 中，「覺得是二十世紀出的，其高的藝術造。 Colonial Exhibition in Paris, 1931 and chose 藝術家」他毫地回：「武高 to settle there, never returning to his native 」。有人會覺得為，著武武高於1949年年原被巴 Vietnam. But the man never considered his 高深厚的會此回，但他的這，前往法的耶，於1952年前往。 departure as an exile he had to suffer. On 一，武高無是的。藝術家女兒 Yannick Vu-Jakober 為們 the contrary, he settled as a Vietnamese 《女》品343之日期，們武高於1931年了在巴的 artist proud of his origins but nonetheless a 畫中人身為藝術家女安。武高對 universal artist in search of beauty and the ，在巴，無回。但他其化景和主題的描為， eternal beyond all frontiers. Very early, in his 覺得這是的，相，他成為一以之美，無是一成功的藝術家。 first years of training in the Fine Art School 自統自的藝術家，是一任 of Hanoi where he studied from 1926-1931, he 國美的國藝術家。自 was immediately noticed as an outstanding 他1926年1931年在藝術學藝時一早 Jean-François Hubert artist both as sculptor and painter. 被出是一出的畫家，是一多得 Senior Expert, Vietnamese Art 藝術深的家。 Plaster, clay, bronze, stone were materials 343 that were opportunities for him to express his incredible talent as a sculptor. At first, 武高 gouache and ink on silk were his favorite VU CAO DAM medium for his paintings but later, in the ±VIETNAM, 1908²2000³ ±，1908²2000³ 1950s, such as Portrait of a Young Girl (Lot 343), he created a new medium by including, Portrait of a Young Girl 女 for example, some egg and tempera in his signed 'Vu cao dam' (lower right) paints or favouring, from 1963 (following mixed media on silk 約1950-1952年作 his contract with the American Gallery, 45 x 28 cm (17 ¾ x 11 in.) : Vu cao dam (右) Wally Findlay), oil on canvas works such as Painted circa. 1950-1952 Maternité (Lot 314), Divinité (Lot 315), Les Pivoines (Lot 344), a larger Divinité (Lot 345) HK$200,000300,000 and Mother and Child, (Lot 346). US$26,00038,000 The series of works presented here is the illustration of the artist's talent. His canvas is PROVENANCE 來源美國 Leighton畫廊 a storytelling medium, and is an extraordinary Leighton Galleries, New Jersey, USA 美國人收藏 display of talent. Private Collection, USA Forced to leave Paris for health reasons, he

settled in the South of France first in Béziers Lot 346 Detail Lot 345 Detail 42 PROPERTY FROM AN IMPORTANT AMERICAN PRIVATE COLLECTION 美國重要人收藏

345

344 VU CAO DAM 武高 ±VIETNAM, 1908²2000³ ±，1908²2000³ VU CAO DAM 武高 Divinité (Divinity) 神性 ±VIETNAM, 1908²2000³ ±，1908²2000³ signed and dated 'Vu cao dam 71' (lower right); titled 'Divinité', 畫 signed in Chinese, signed again and dated (on the reverse) Les Pivoines (Peonies) 1971 oil on canvas 年作 signed 'Vu cao dam' and dated '64' (lower left) 65.3 x 54.4 cm. (25 ¾ x 21 ⅜ in.) ：Vu cao dam 71 (右) ；Divinité 武高畫 oil on canvas Painted in 1971 Vu cao dam 1971 (畫) 1964年作 46.5 x 36 cm. (18 ¼ x 14 ⅛ in.) ：Vu cao dam 64 (左) Painted in 1964 HK$100,000160,000 US$13,00021,000 HK$100,000160,000

US$13,00021,000 PROVENANCE 來源來源 Wally Findlay Galleries, New York, USA 美國約 Wally Findlay畫廊 PROVENANCE 前藏者自上畫廊，由前藏者家屬收藏美國人收藏 Acquired from the above by the previous owner thence by decent to Private Collection, USA the present owner 美國人收藏 Private Collection, USA

44 JEAN DUNAND, SEIZO SUGAWARA, JOSEPH INGUIMBERTY, NGUYEN GIA TRI AND OTHERS: A JOURNEY FROM FRANCE, JAPAN AND VIETNAM

In art, the truth is told by the artists and it is presented in 1921 a large lacquer, using for synthetizes the style from 1935-1940 when written as a fact, through their work. the first-time bigger surfaces. He would the decorative screens imposes itself as the As soon as the Fine Art School of Hanoi was impose in this way the modern form of result of a long and subtle labour. created in 1924, they applied the exact same lacquer - in a way where in it will no longer Nguyen Sang's Sumo (Lot 349) with major principles that were used in the École just be decorative but will specifically depict this superb lacquer in a large format is des Beaux-Arts in Paris. It was only in time, subjects. undoubtedly paying homage to Sugawara. little by little that the teachings adopted, Dunand could already see all the possible Nguyen Tu Nghiem and his three classical specialized, and developed as it was enriched effects such a process could produce with themes Ong Than Giong (Lot 347), The by the local sensitivity. In that way, Joseph the time and the addition of layers slowly. Genius of the Nation (Lot 353), and Ancient Inguimberty decided to promote the art and Indeed, in lacquer specifically the artist Dance (Lot 348) magnificently appear on technique of lacquer. This was an art form becomes a conductor as if the pigments were several levels. he knew well since the 1920's in France, the musicians, the wood beneath the public, Nguyen Gia Tri and his breathtaking Women when Jean Dunand (1877–1942), who was and the brushes and the humidity were and Children (Lot 351), his atypical The firstly an expert in copper-ware, exhibited the acoustics. Overall, a musical virtuoso Farmers (Lot 352) and his more classical Two with a phenomenal success in Paris some performance' is skilfully created. Ladies (Lot 350) are a impressive display of magnificent lacquers (including screens). He The encounter between Dunand, who his versatility in different styles and subjects. had great success that seemed to follow him was Swiss but became a naturalised Nguyen Trung's L'élégante Dame de Hué no matter everywhere in Paris or elsewhere, in French citizen in 1921, and the Japanese (The Elegant Lady of Hué) (Lot 356), favours any public or private exhibitions. The media artist Sugawara, paved the way forward. the use of lacquer over oil on canvas - which then also contributed with their enthusiastic This development led to the French artist is more time consuming and more complex, response and coverage of these exhibitions. Inguimberty bringing to the Hanoi School of presents us with his depictions of women Félix Marcilhac, the best-known expert on Fine Art, an artistic revolution. made of elegance and beauty in 2 lots Dunand, explains that in 1912, Dunand met a "If there is a technique that demands presented here – one in lacquer and one in oil. Japanese Master specialized in lacquer called everything from the painter it is truly lacquer." Seizo Sugawara and who had lived in France Finally, special mention must be made for Alix Ayme in L'Illustration, 1949 since 1900. Both the artists will eventually the extraordinary Hoang Tich Chu landscape share their secrets: metalwork versus lacquer Rhus Succedanea, from which the resin was work (Lot 355), dated 1959 which is a high techniques. Fascinated by this material used, the wood, the climate and a whole point of Vietnamese Art through its grace and (known in France since the 17th century at generation of talented and virtuous painters subtle technique. This work is accompanied least with the importation of many pieces will contribute in the creation of a Vietnamese with a sketch by the artist from China and Japan, Dunand will acquire Art School to reach an all-time high of talents Lacquer shares a commonality with wine: the from Sugawara an in-depth technique for in the 20th Century. grape variety is important but it is the land of lacquer. "Jean dreams of lacquer ", were The exceptional ensemble of lacquers we the local produce that truly matters. the words found in Dunand's wife personal have the pleasure to present here proves it: journal, in an entry written January 3rd, Trinh Van's Hunting Scene in the Middle Jean-François Hubert 1919). Following a courageous war, Dunand Region of North Vietnam (Lot 354) Senior Expert, Vietnamese Art 346 Lot 354 Detail VU CAO DAM 武高 ±VIETNAM, 1908²2000³ ±，1908²2000³

Mother and Child

signed 'vu cao dam' and dated '78' (lower right) 畫 oil on canvas 1978年作 60 x 48 cm (23 ¾ x 19 in.) Painted in 1978 ：vu cao dam 78 (右)

HK$160,000260,000 US$21,00033,000 來源 PROVENANCE 美國約 Wally Findlay畫廊 Wally Findlay Galleries, New York, USA 前藏者自上畫廊，由前藏者家屬收藏 Acquired from the above by the previous owner 美國人收藏 Thence by decent to the present owner Private Collection, USA

46 、雄、- 安貝、治和其他一場法國、日本和的術精

就術而，術家，而這些方磨入了現的 – 而這術自此不。生所作的(品349)是一他們的作品以事呈現。只於用，而是能用來描各種主題。大型作品，大方，以是對雄河內術在1924年成。該當時所採就理了上程在上生的出一場。用的術則，與法國的術同同層。在這術中，術家和他三經主題士(品師。之後，時間的和地方風讓的然是揮家、是手、下的始是 347)、國家的英(品353)和方逐漸，也而歷經、、刷和則是。的大師 (品348)則是有經有，精、發。法國畫家安以這種方創作成就了這場的大師。喜。術和技巧。身為士人的在1921年成為法國公，治和他的精絕的子與(作品自20年起，法國大師1877- 他和日本術家的遇，為在的發 351)、與不同的(作品352) 1942在成功出了幾包括風在了。法國術家安而將這一以經風的二子(品350)現內的出，讓安對術有發帶入河內術，了一場術。了他對多種不同風和主題的。。無是在、是其他公是有一技能要畫家盡生之，就所作的順化的子(品人，都名雙。體也就這些不了。 356)，用的是而布面畫，這程更。自法國畫家. ，1949年時、更，是精細。這裡呈現的馬爾是對最有的於法國的畫是中的兩作品，描繪性的一家，他到在1912遇一名雄是、另一則是。了所的和、其生的日本大師，生自1900年就法長的，和一個的名家，為20 最後一要到大師的風景作品(作國。兩名術家最終此的創作術大師了前所有的品355)，於1959年完成；作品的和細對技巧。為這種(自。手法表了壇的。這幅作品還帶 17起，法國就有日本和中國的，因了術家手繪的描。此這種不人知。而那而們本次呈現的傑出，就是上內與有同之妙品種然的技巧。都到，是的最的明要；然而，地是成就作品的後手。妻子在1919年1 月3日於個人手中。所的中地的場景(品歷經了一場戰爭後的，在1921年出了一 354)，結合了1935到1940年流行的風 Jean-François Hubert 大型，次用了大表面磨。他以這種；當時的風，精細而精妙，為術家

347 Lot 354 Detail NGUYEN TU NGHIEM 思 ±VIETNAM, 1922²2016³ ±，1922²2016³

Kim van Kieû 金傳 signed 'nge' and dated '78' (lower right) 木 lacquer on panel 1978 64.3 x 47 cm. (25 ⅜ x 18 ¼ in.) 年作 Executed in 1978 ：nge 78 (右)

HK$80,000120,000 US$11,00015,000

PROVENANCE 來源 Acquired directly from the artist by the present owner 藏者自藝術家 Private Collection, France 法國人收藏

48 348 349 NGUYEN TU NGHIEM 思 NGUYEN SANG ±VIETNAM, 1922²2016³ ±，1922²2016³ ±VIETNAM, 1923²1988³ ±，1923²1988³

Ancient Dance 代舞 Sumo 相 signed 'nge' and dated '80' (lower left) signed 'NG SANG' and dated '1976' (lower left) 木木 lacquer on panel lacquer on panel 1980 1976年作 82 x 164 cm. (32 ¼ x 64 ⅝ in.) 年作 80.5 x 100.5 cm. (31 ¾ x 39 ⅝ in.) Executed in 1980 ：nge 80 (左) Executed in 1976 ：NG SANG 1976 (左)

HK$350,000450,000 HK$200,000300,000 US$45,00058,000 US$26,00038,000

50 350 NGUYEN GIA TRI 治 ±，1908²1993³ ±VIETNAM, 1908²1993³ 351 Two Ladies 女 NGUYEN GIA TRI 治 signed 'Ng Tri' (lower right) 天然木 lacquer on wooden board with eggshells and natural ±，1908²1993³ Ng Tri ( ) ±VIETNAM, 1908²1993³ materials 名：右 88 x 67 cm. (34 ⅝ x 26 ⅜ in.) Women and Children 女 lacquer on wooden board with eggshells and natural materials HK$450,000550,000 天然木 100 x 79 cm. (39 ⅜ x 31 ⅛ in.) 1968 US$58,00070,000 Executed circa. 1968 約年作

PROVENANCE 來源 HK$400,000500,000 藝術家家屬收藏 From the collection of the artist's family US$52,00064,000 Anon. Sale, Christie's Hong Kong, 25 November 2012, Lot 215 2012年11月25日士得 215 Acquired from the above sale by the present owner 藏者自上 Private Collection, France 法國人收藏

52 352 353 NGUYEN GIA TRI 治 NGUYEN TU NGHIEM 思 ±VIETNAM, 1908²1993³ ±，1908²1993³ ±VIETNAM, 1922²2016³ ±，1922²2016³

The Farmers 夫 Ong Than Gong Ong Than Gong signed 'Ng Tri' (lower right) signed 'nge' and dated '80' (lower left) 金天然木木 lacquer, eggshell, gold foil and natural materials on board lacquer on wood : Ng Tri (右) 1980 45 x 62.5 cm. (17 ¾ x 24 ¾ in.) 41 x 38 x 7 cm. (16 ⅛ x 15 x 2 ¾ in.) 年作 Executed in 1980 ：nge 80 (左) HK$350,000450,000 HK$70,00090,000 US$45,00058,000 US$9,00012,000 PROVENANCE 來源 Anon. Sale, Christie's Hong Kong, 25 November 2012, Lot 216 2012年11月25日士得 216 PROVENANCE Acquired from the above sale by the previous owner 前藏家自上 Acquired directly from the artist by the present owner 來源藏者自藝術家 Anon. Sale, Christie's Hong Kong, 29 November 2015, Lot 485 2015年11月29日士得 485 Private Collection, France 法國人收藏 Acquired from the above sale by the present owner 藏者自上

54 354 355 TRINH VAN HOANG TICH CHU ±VIETNAM, B. 1917³ ± ，B. 1917 ³ ±VIETNAM, 1912²2003³ ±，1912²2003³

Hunting Scene in the Middle Region of North 中地的場景 Paysage du Tonkin (Tonkinese Landscape) 的風景 Vietnam lacquer on panel: signed 'Tich Chu' and dated '59' 木木; 筆本 (lower left) signed 'Trinh Van' and dated '1943' (lower right) 1959 (2) 1943年作 pencil on paper: signed 'Chu' (lower left) 年作 lacquer on panel : Trinh Van 1943 (右) lacquer on panel & pencil on paper 木：Tich Chu/59 (左) 115.5 x 159.5 cm (45 Å⁄ÆÇ x 62 ¾ in.) lacquer on panel: 65 x 80 cm. (25 ⅝ x 31 ½ in.) 筆本 : Tich Chu (左) Painted in 1943 pencil on paper: 19 x 28 cm. (7 ½ x 11 in.) Executed in 1959 (2) HK$450,000650,000 Sketch of Paysage du Tonkin (Tonkinese Landscape) US$58,00083,000 HK$180,000280,000 的風景的圖 US$24,00036,000 來源 PROVENANCE 2014年10月6日蘇富 288 Anon. Sale, Sotheby's Hong Kong, 6 October 2014, Lot 288 藏者自上 Acquired from the above sale by the present owner 法國人收藏 Private Collection, France 56 356 357

NGUYEN TRUNG 忠 NGUYEN TRUNG 忠 ±VIETNAM, B. 1940³ ±，B. 1940³ ±VIETNAM, B. 1940³ ±，B. 1940³

L'élégante Dame de Hué (The Elegant Lady of Hué) 順化的優雅女 Woman with Lotus 花女 signed 'ng. Trung' and dated '96' (lower right) signed 'ng. Trung' and dated '003' (lower right) 木畫 lacquer on panel oil on canvas 2003年作 120 x 80 cm. (47 ¼ x 31 ½ in.) 1996年作 90 x 90 cm. (35 ⅜ x 35 ⅜ in.) Painted in 1996 : ng. Trung 96 (右) Painted in 2003 ：ng. Trung 003 (右)

HK$100,000150,000 HK$70,00090,000 US$13,00019,000 US$9,00012,000 來源 PROVENANCE 藏者得自藝術家本人 Acquired directly from the artist 美國人收藏 Private Collection, USA

58 PROPERTY FROM AN IMPORTANT AMERICAN PRIVATE COLLECTION PROPERTY FROM AN IMPORTANT AMERICAN PRIVATE COLLECTION 美國重要人收藏美國重要人收藏

358 JOSEPH INGUIMBERTY 安格 359 ± 1896²1971³ ±FRANCE, 1896²1971³ 法國， NGUYEN SIÊN NGUYEN SIÊN Farmers in Tonkin 的 ±VIETNAM, 1916²2014³ ±，1916²2014³ signed 'Inguimberty' (lower right) 畫 oil on canvas River Scene 景約1938年作 68 x 129 cm. (26 ¾ x 50 ¾ in.) signed 'Ng. Sien' and dated '60' (lower right) ：Inguimberty (右) 畫 Painted circa 1938 oil on canvas 1960 64.5 x 109 cm. (25 ⅜ x 42 ⅞ in.) 年作 HK$250,000350,000 Painted in 1960 ：Ng. Sien 60 (右) US$33,00045,000 HK$20,00030,000 來源 PROVENANCE 2005年10月9日新坡蘇富 82 US$2,6003,800 Anon. Sale, Sotheby's Singapore, 9 October 2005, Lot 82 藏者自上來源 Acquired from the above by the present owner 美國人收藏 PROVENANCE 美國人收藏 Private Collection, USA Private Collection, USA

60 360 361 THANG TRAN PHENH THANG TRAN PHENH THANG TRAN PHENH THANG TRAN PHENH ±，1890²1972³ ±VIETNAM, 1890²1972³ ±，1890²1972³ ±VIETNAM, 1890²1972³ Pork Seller Calligraphy Lesson 法 signed 'TT Phenh.' (lower left) signed 'TT Phenh.' (lower right); inscribed in Chinese 水本水本 watercolour on paper (upper left) 約1930年作 1920 23.5 x 31 cm. (9 ¼ x 12 ¼ in.) watercolour on paper 約年作 Painted circa. 1930 ：TT Phenh. (左) 19.5 x 26.5 cm. (7 ⅞ x 10 ⅜ in.) ：TT Phenh. (右); ，品， Painted circa. 1920 有高。平畫 (左上) 來源 one seal of the artist 藝術家印一 HK$60,00080,000 US$7,70010,000 特人收藏 HK$60,00080,000 來源 US$7,70010,000 PROVENANCE 特人收藏 Private Collection, Amsterdam PROVENANCE Private Collection, Amsterdam

62 PROPERTY FROM AN IMPORTANT AMERICAN PRIVATE COLLECTION PROPERTY FROM AN IMPORTANT AMERICAN PRIVATE COLLECTION 美國重要人收藏美國重要人收藏

362 363

DO QUANG EM DO QUANG EM LE PHO ±VIETNAM, B. 1942³ ±，B. 1942³ ±VIETNAM, 1907²2001³ ±，1907²2001³

Still Life Summertime in the Garden 日花園 oil on canvas signed 'Le pho' and signed again in Chinese (lower left) 畫畫 66.5 x 58.5 cm. (26 ⅛ x 23 in.) oil on canvas 1970 Painted in 1972 1972年作 95 x 125 cm. (37 ⅜ x 49 ¼ in.) 約年作 Painted circa. 1970 ： Le pho (左) HK$50,00070,000 來源 HK$250,000400,000 US$6,5009,000 美國人收藏 US$33,00051,000 PROVENANCE 來源 Private Collection, USA PROVENANCE 2005年9月13日約蘇富 175 Anon. Sale, Sotheby's New York, 13 September 2005, Lot 175 藏者自上 Acquired from the above sale by the present owner 美國人收藏 Private Collection, USA

64 PROPERTY FROM AN IMPORTANT AMERICAN PRIVATE COLLECTION PROPERTY FROM AN IMPORTANT AMERICAN PRIVATE COLLECTION 美國重要人收藏美國重要人收藏

364 365 LE PHO LE PHO ±VIETNAM, 1907²2001³ ±，1907²2001³ ±VIETNAM, 1907²2001³ ±，1907²2001³

Young Woman with Flowers 女花 Lady with Red Flowers 花女 signed 'Le pho' and signed again in Chinese (lower left) signed 'Le pho' and signed again in Chinese (lower left) 畫畫 oil on canvas oil on canvas 1968-1970 約1970年作 40 x 32 cm. (15 ¾ x 12 ⅝ in.) 約年作 37 x 45 cm. (14 ⅝ x 17 ¾ in.) Painted circa. 1968-1970 ： Le pho (左) Painted circa. 1970 ： Le pho (左)

HK$80,000100,000 HK$60,00080,000 US$11,00013,000 US$7,70010,000 來源 PROVENANCE 來源 PROVENANCE 美國人收藏 Private Collection, USA 美國人收藏 Private Collection, USA

66 RUPTURES IN THE EARLY YANGON SCHOOL 期派的

Excellent paintings were done in Myanmar In the 1950s, Aung Khin had exhibitions of his 的見於 (Lot 375) 九 before Ba Nyan, but his academic and work in Mandalay, one of which was sponsored 年的作品，以至他的生佐佐的作品。期 professional training in London in the 1920s, by the American Consulate there. This did not 派的風，見於二年之後 which he passed on to painters such as U Ngwe attract great attention in Yangon, however, 一些的畫家的畫作品， () Gaing (Lot 366 & 367) and San Win (Lot 370), where painters might acquire media recognition (Lot 374) 與 (Lot 371) 九年的水畫，兩 became the backbone of modern Myanmar and buyers from diplomats. As for Bagyi Aung 者都有其所在，與期派合。這，同 painting. A case in point is U Lun Gywe (Lot Soe, he did not possess the temperament to 時在於之前的德地方作品見， 369), who studied under Ba Nyan's apprentice initiate "movements" and his work was too 他同時受到期德水畫派的 Thein Han, who became Lun Gywe's much unusual for many Myanmar or foreign art-lovers 。 admired teacher. For much of Lun Gywe's to understand or admire at that time. 當時德的畫家戰的流行風。佐 career, he was a realist in the Ba Nyan-Thein Thus, when the "modernist movement" did (Lot 368) 就是其中一個這的畫家，他試以現 Han mode, and only in the 1990s began to move arrive in Myanmar it started in 1963, as a 本的風入畫，他的個人作品，包現主 into a florid impressionism. result of a show in Yangon by the Mandalay 義、印主義超現主義的風，合 The influence of Ba Nyan and Ngwe Gaing was painter Paw Oo Thet, sponsored by the also evident in the early 1990s work of Min Wae American Embassy. One of the hallmarks of this 其他主題。由於佐是一個在上是一個 Aung (Lot 375) and his apprentice Zaw Zaw movement, in addition to elements of geometric, 的畫家，他的個人作品不多。同，其 Aung. The reach of the Early Yangon School compositional, or proportional abstraction, was 他同一班的畫家有情，他們個人的作品 extended through a wide arc, into the post-2000 a bold move into color abstraction, a necessary 有強的個人風，族畫家 (Lot 372) 的罕 oil work of older artists such as Soe Nyunt Lay advent recommended by Aung Khin, who 見作品是子。 (Windy) and the 1990s watercolour of Hla Han observed that modernist works require unusual 期派的然不，的兩個 (Lot 371), both of whose works possess gravitas, or "crazy colors". Indeed, this became one of the 各自向方向發。畫家奇成為了一個傳 a feature associated with the Early Yangon major elements of the modernist break from the 主義畫家，而德的畫家則向現主義 School. This gravitas, however, also appears in Early Yangon School. 發。是第一的現主義畫家，同的包 pre-Ba Nyan works in Mandalay, and Hla Han The movement had several dozen members, 括德畫家 (班)的，一 admits to being influenced by Ngwe Gaing, as but the leading lights were Paw Oo Thet, Win 於1951年於爾於創的 well as early Mandalay watercolorists. Pe, Kin Maung Yin, as well as Kin Maung 的現主義畫家。 At this time, the painters in Mandalay wished to (Bank) and Aung Khin. It created a sensation in 在五年，在德行了不少，其中 challenge the trends occurring in Yangon. Saw Myanmar for two or three years, but eventually 一個是由當地的國領事。然而在 Maung (Lot 368) was one of these painters, government restrictions made it difficult for experimenting with modern and indigenous diplomats to find paintings. By the 1990s, when 體作為在家的的 styles, in a private oeuvre that encompassed Myanmar began to open up to the world, a 成動。而則遇而安，沒有要 realism, impressionism, and surrealism mixed younger generation of modernist hold-outs were 創術風潮，的作品對當時多國的術 with Myanmar or Asian themes. As Saw leading the movement: Tin Maung Oo (Yangon) 愛者來，明白。 Maung was a professional painter for religious (Lot 383), Aung Myint, San Minn, among others. 現主義風潮之到達，是在1963年國 edifices in Upper Myanmar, his private oeuvre Ultimately, these painters were surpassed by a 領事的一個德畫家達於行的 is not large. The same must also be said of younger generation who were captivated by a 。這風潮的色，在於了幾、構圖比 the painters who worked in his crew, who also romance with color: Ramree Tin Shwe (Lot 378), 的元之，對色的大膽表現。當 developed individual private oeuvre, such as the Nyein Chan Su (Lot 379), Myat Kyawt (Lot 377), 時出，作品要同，至的色 rare works of the Shan painter Kham Lun (Lot Zaw Win Pe (Lot 380), and Min Zaw (Lot 382), 。然這是現主義期派的一個主 372), for instance. of which the last four painters are the leading 要地方。 Ruptures in the Early Yangon School were representatives of the young modernist painters in 這潮有名成，主要領軍的是達、 inevitable. Two of Ba Nyan's apprentices Myanmar today. 、、 (班)。在領風 moved in new directions. Ba Kyi, a Yangon 在之前，有常傑出的繪畫，他在潮了年後，著的，來 painter, became a Neo-Traditionalist, and Aung 二年的所受，傳至 Khin (Lot 376), a Mandalay artist, moved into 到頭的繪畫。到了九年，打國 (Lot 366 & 367) 的，成為了現 modernism. Aung Khin belongs to the first- ，一年的現主義者領的風潮他們包繪畫的所在。其中一個子是 generation of modernist painters in Myanmar, 括的 (Lot 383)、、等等。 (Lot 369)，他於的，後來 which also included the Mandalay painter Kin 這些畫家被另一更年的畫家超，他 366 成為的師。的術生之中一是 Maung (Bank) and Bagyi Aung Soe, a Yangon 們為色的浪所。他們包括施 (Lot 一個風的現主義畫家，到九 modernist who in 1951 attended Shantiniketan, 378)、年Su (Lot 379)、物歸 (Lot 377)、佐 U NGWE GAING 年風一為的印主義。 U NGWE GAING Rabindranath Tagore's progressive school in (Lot 380) 佐(Lot 382)，最後是當 ±, 1901²1967³ India. 年現主義畫家的領軍人物。 ±BURMA, 1901²1967³

Lot 379 Detail Scene from the Town 景 signed 'NgwE GAING' (lower left); titled 'Scene from the Town' 木 (on the reverse) 1950 oil on board 約年作 30 x 40 cm. (11 ¾ x 15 ¾ in.) ：NgwE GAING (左); Scene from Painted circa. 1950 the Town (畫)

HK$200,000280,000 US$26,00036,000

68 367 368 U NGWE GAING NGWE GAING SAW MAUNG SAW MAUNG ±BURMA, 1901²1967³ ± ，1901²1967³ ±BURMA, 1900²1969³ ± ，1901²1967³

Maung Magan Beach Akha Dancers 舞者 signed 'Ngwe Gaing' and dated '67' (lower left) signed in Burmese and dated '67' (lower right) 木木 oil on board oil on board 1967 44 x 61 cm. (17 ¾ x 24 in.) 年作 48 x 61 cm. (18 ⅞ x 23 ¾ in.) 1967年作 Painted in 1967 ：Ngwe Gaing 67 (左) Painted in 1967 ：名 67 (右)

HK$240,000320,000 HK$180,000280,000 US$31,00041,000 US$24,00036,000

LITERATURE Andrew Ranard: Burmese Painting: A Linear and Lateral History, 2009年《畫：性多 Chiang Mai, Thailand, Silkworm Books, (2009) (illustrated Fig. 167) 》Andrew Ranard著Silkworm Books 清國 (圖版，167圖)

70 369 U LUN GYWE U LUN GYWE 370 ±BURMA, B. 1930³ ±，1930年生³ U SAN WIN U SAN WIN A Resting Beauty 美女 ±, 1905²1981³ signed 'Lun Gywe' and dated '2002' (lower right) ±BURMA, B. 1930³ 畫 oil on canvas 2002 68.5 x 69 cm. (27 x 27 ⅛ in.) 年作 White Temple in Bagan 的白：Lun Gywe 2002 (右) Painted in 2002 signed 'San Win' and dated '74' (lower left) 木 oil on board 1974 HK$80,000120,000 30 x 40 cm. (11 ¾ x 15 ¾ in.) 年作：San Win (左) US$11,00015,000 2011年Shireen Naziree、Jørn Middleborg著《U LUN Painted in 1974 GYWE：女性美》Thavibu畫廊國 (圖版，24) HK$150,000250,000 LITERATURE 2005年Shireen Naziree、Jørn Middleborg著《U LUN GYWE：大師》Thavibu畫廊國 (圖版，65) Shireen Naziree and Jørn Middleborg, U Lun Gywe – Feasting the Female Form, US$20,00032,000 Thavibu Gallery, Bangkok, Thailand, 2011 (illustrated, p. 24). Shireen Naziree and Jørn Middleborg, U Lun Gywe: A Master Painter From Myanmar, Thavibu Gallery, Bangkok, Thailand, 2005 (illustrated, p.65) 72 371 U HLA HAN ±BURMA, B. 1941³ Bu¤aloes and Cranes

signed 'HLA HAN' and dated '93' (lower right) watercolour on paper 36 x 52.5 cm. (14 ⅛ x 20 ⅝ in.) Painted in 1993

HK$28,00048,000 US$3,6006,200

LITERATURE Andrew Ranard: Burmese Painting: A Linear and Lateral History, Chiang Mai, Thailand, Silkworm Books, (2009) (illustrated Fig. 288)

U HLA HAN ±，1941年生³

水和

水本 1993年作：HLA HAN 93 (右)

2009年《畫：性多》Andrew Ranard著 Silkworm Books 清國 (圖版，2881圖)

372 U KHAM LUN ±BURMA, 1915²1985³ Novitiation

signed in Burmese and inscribed 'SHANYOMA ART' (lower left) watercolour on paper 36 x 49.5 cm. (14 ¼ x 19 ½ in.)

HK$25,00045,000 373 US$3,3005,800 U LUN GYWE U LUN GYWE LITERATURE ±，1930年生³ Andrew Ranard: Burmese Painting: A Linear and Lateral History, ±BURMA, B. 1930³ Chiang Mai, Thailand, Silkworm Books, (2009) (illustrated Fig. 178) Heavy Rain 大 signed 'LUN GYWE' (lower right) 水本 oil on board 1969 U KHAM LUN 61 x 81 cm. (23 ¾ x 31 ½ in.) 約年作： LUN GYWE (右) ±，1915²1985³ Painted circa. 1969

見 HK$70,00090,000 US$9,00012,000 水本 : 名 SHANYOMA ART (左) LITERATURE Andrew Ranard: Burmese Painting: A Linear and Lateral History, Chiang Mai, 2009年《畫：性多》Andrew Ranard著 Thailand, Silkworm Books, (2009) (illustrated Fig. 281) Silkworm Books 清國 (圖版，281圖) 2009年《畫：性多》Andrew Ranard著 Silkworm Books 清國 (圖版，178圖)

74 374 SOE NYUNT LAY ±WINDY³ ±BURMA, 1933²C. 2012³ Girl with Bull Fighting the Wind (Facing Left)

signed 'Soe Nyunt Lay' and dated '07 (lower right) oil on canvas 100.5 x 76.5 cm. (39 ⅝ x 30 ⅛ in.) Painted in 2007

HK$30,00060,000 US$3,9007,700

SOE NYUNT LAY ªWINDY« ±，1933²C.2012³

的女面左

畫 2007年作：Soe Nyunt Lay 07 (右)

375 MIN WAE AUNG ±BURMA, B. 1960³ Eyes of Hope

signed 'MIN WAE AUNG' and dated '94' (lower left) oil on canvas 63.5 x 88 cm. (25 x 34 ⅝ in.) Painted in 1994 376 HK$50,00070,000 AUNG KHIN US$6,5009,000 AUNG KHIN ±BURMA, 1921²1996³ ± ，1921²1996 ³

MIN WAE AUNG Toddy Palm Tree Climber 樹者 ±，1960年生³ signed 'Aung Khin' and dated '1980' (lower left) 畫於木 oil on canvas laid on board 1980 望之 76 x 71 cm. (29 ¾ x 28 in.) 年作 Painted in 1980 ： Aung Khin 1980 (左) 畫 1994年作 HK$60,00080,000 ：MIN WAE AUNG 94 (左) US$7,70010,000

76 377 379 MYAT KYAWT NYEIN CHAN SU ±BURMA, B. 1966³ ±BURMA, B. 1973³ Dancer 4 Vendors Under Lights

signed 'myatkyawt' and dated '2000' signed 'NCS' and dated '2000' (lower right) (lower right) oil on canvas oil on canvas 45.5 x 61 cm. (17 ⅞ x 24 in.) 90 x 120 cm. (35 ⅜ x 47 ¼ in.) Painted in 2000 Painted in 2000 HK$20,00030,000 HK$15,00025,000 US$2,6003,800 US$2,0003,200 MYAT KYAWT LITERATURE Andrew Ranard: Burmese Painting: A Linear and ±，1966年生³ Lateral History, Chiang Mai, Thailand, Silkworm Books, (2009) (illustrated Fig. 338) 舞者四 NYEIN CHAN SU 畫 2000年作 ± ，B. 1973³ ：myatkyawt 2000 (右) 燈的

畫 377 2000年作 379 ：NCS 2000 (右)

2009年《畫：性多》Andrew Ranard著 378 Silkworm Books 清國 (圖版，338圖) RAMREE TIN SHWE ±BURMA, 1960²C. 2009³ Arakan Abstract

signed 'Ramree Tin Shwe' and dated '1998' 380 (lower right) oil on silk ZAW WIN PE 46 x 61 cm. (18 x 24 in.) Painted in 1998 ±BURMA, B. 1960³

HK$25,00045,000 Landscape

US$3,3005,800 signed 'Zaw Win Pe' and dated '2013' (lower right) LITERATURE oil on canvas 122 x 152.5 cm. (48 x 60 in.) Andrew Ranard: Burmese Painting: A Linear and Painted in 2013 Lateral History, Chiang Mai, Thailand, Silkworm Books, (2009) (illustrated Fig. 335) HK$15,00025,000 US$2,0003,200 RAMREE TIN SHWE ±，1960²C. 2009³ ZAW WIN PE ±，1960年生³ 象景觀 1998 年作畫 Ramree Tin Shwe 1998 ( ) ：右 2013年作 Zaw Win Pe 2013 ( ) 378 ：右

2009年《畫：性多》Andrew 380 Ranard著Silkworm Books 清國 (圖版，335圖) 78 381 BA KHINE ±BURMA, B. 1960³ Inle Lake

signed 'BaKhine' and dated '2000'(lower left) oil on canvas 122 x 92 cm. (48 x 36 ¼ in.) Painted in 2000

HK$18,00028,000 US$2,4003,600

BA KHINE ±， 1960年生³

畫 2000年作： BaKhine 2000 (左)

381

382 MIN ZAW ±BURMA, B. 1972³ Mandalay Royal City signed 'MINZAW' and dated '2000' (lower left) 383 oil on canvas TIN MAUNG OO 92 x 122 cm. (36 ¼ x 48 in.) TIN MAUNG OO Painted in 2000 ±，1949年生³ ±BURMA, B. 1949³ HK$18,00028,000 的 US$2,4003,600 Turquoise Afternoon signed 'TIN MAUNG OO' and dated '94' (lower right) 畫 oil on canvas 1994年作 MIN ZAW 87.5 x 50.5 cm. (34 ½ x 19 ⅞ in.) ：TIN MAUNG OO 94 (右) ±, 1972年生³ Painted in 1994 HK$25,00045,000 皇家 2009年《畫：性多》Andrew Ranard著 US$3,3005,800 Silkworm Books 清國 (圖版，321圖) 畫 2000年作 LITERATURE 382 ： MINZAW 2000 (左) Andrew Ranard: Burmese Painting: A Linear and Lateral History, Chiang Mai, Thailand, Silkworm Books, (2009) (illustrated Fig. 321) 80 THAWAN DUCHANEE ． Lot 385 Detail

These two lots by Thawan Duchanee It was not until the owners reached out to a splashes of sea foam, capturing nature's epitomise the artist's distinctive style and friend working in the Chiang Mai art scene forces. demonstrate the sheer breadth of his talent. that they realised the great importance Overall, these works perfectly reflect the Both pieces offer unique reinterpretations and influence of these works in the family's versatility of Thawan's mastery of painting. 384 of their subjects: the one depicting a typical collection. It was discovered that the pieces They show his unique trajectory in search for a city scene in Thailand, the other a modern were most probably bought whilst Thawan Thai identity and his exploration of nationalist THAWAN DUCHANEE Buddhist monk. Although varying in artistic was still living and studying in Bangkok– sentiments; one which has made the artist techniques, visible in each are the artist's giving the works a special history and an internationally acclaimed Thai and Asian ±THAILAND, 1939²2014³ personal meditation on the Thai way of life, provenance. The seller was surprised that artist. traditions and identity. Thawan's renowned the two pieces, which had looked so unalike Monk tendency to compose bold and powerful and which had hung in completely different signed 'Thawan 64' (upper right); signed 'Thawan' displays of local subjects combined with settings in the house for many years, were and inscribed 'Kuala Lumpur' (on the reverse) Western stylistic practices is wholly evident indeed by the same single artist. oil on canvas in both of these works. In Rickshaw, the viewer is given a window 189 x 86 cm. (74 ⅜ x 33 ⅞ in) Born in the northern province of Chang Rai into a rare moment of quietude in Bangkok's Painted in 1964 in 1939, Thawan later studied under the notoriously busy and chaotic streets. Thawan's HK$350,000450,000 late sculptor Corrado Feroci, whom was use of vibrant and textured colour make this responsible for introducing modern art piece come alive, perhaps hinting of many US$45,00058,000 practice in Thailand. From 1964-1968 he was untold narratives observed that have occurred awarded a scholarship to study at the Rihks in this scene. PROVENANCE Akademie van Beeldende Kunsten (Royal Monk reveals a rarer side to the workings Acquired in the 1970s from Thailand Academy of Fine Arts) whereby he gained of Thawan's artistic mind. Known for his Thence by descent to the present owner a more mature understanding of Western controversial expressions of Buddhism, this Private Collection, Canada artistic practices. He has since incorporated work presents a dynamic interpretation of Surrealist, Modernist and Expressionist a Thai monk in which we can see Thawan's ． influences into his aesthetic vocabulary. hallmark style embedded throughout. His use ±國，1939²2014³ These paintings have had a particularly of bold pictorial lines, impressive composition interesting journey. From a young age, the and characteristic brushstrokes give a present owner remembers the strong presence strong emotional and spiritual quality to this of the Rickshaw (Lot 385) work in their family profound figure. 畫 home in Bangkok, where the family had moved Monk shows early stylistic hallmark's of 1964年作 to originally from the Netherlands. When Duchanee's later and most visually-iconic ：Thawan 64 (右上); Thawan Kuala Lumpur (畫) they later immigrated to Canada in 1975, the works of dynamic, swirling compositions of paintings were taken with them: Rickshaw, powerful creatures dominantly rendered in 來源 the father's favorite, was hung in his study, black and red, and contracted with white and 前藏家於1970年代得自國 whilst the Monk (Lot 384) was displayed in the gold accents. Shark (Lot 386) is an interesting 由原藏家家屬收藏 entrance hallway. Their parents were unaware example of this later style, depicting a wide- 大人收藏 Lot 386 Detail then of the artist's ever growing reputation as a eyed shark, jaws agape, surrounded by bold leading contemporary Thai artist of his time. 82 385 386 THAWAN DUCHANEE ． THAWAN DUCHANEE ． ±THAILAND, 1939²2014³ ±國，1939²2014³ ±THAILAND, 1939²2014³ ±國，1939²2014³

Rickshaw Shark signed 'Thawan' (lower right) signed (on the reverse) 畫畫 oil on canvas oil on canvas ：Thawan (右) 1980 81.5 x 100.5 cm. (32 ⅛ x 39 ⅝ in.) 88 x 107 cm. (34 ⅝ x 42 ⅛ in.) 約年代作 Painted circa. 1980s ：(畫) HK$300,000400,000 HK$300,000400,000 US$39,00051,000 US$39,00051,000 PROVENANCE 來源 Acquired in the 1970s from Thailand 前藏家於1970年代得自國 PROVENANCE 來源 Thence by descent to the present owner 由原藏家家屬收藏 Acquired directly from the artist 原藏者得自藝術家本人 Private Collection, Canada 大人收藏

84 PROPERTY FROM AN AMERICAN PRIVATE COLLECTION 美國人收藏

THAI MODERN ABSTRACT

Lot 389 Detail

Rich in culture and ideology, Thailand in after graduating in Fine Arts from Silpakorn Damrong Wonguparaj began his artistic the twentieth century was a vibrant nation University, his attention quickly turned from career as a student at Silpakorn University, which left imprints on the art produced. This figurative to abstraction as a preferred form the Slade School of Fine Art and the season, Christie's is pleased to offer abstract of creative expression. University of Pennsylvania. paintings by three distinguished Thai modern Highly influenced by Buddhist philosophy, With painterly techniques influenced by both artists of the period, Prataung Emjaroen, Nirand's dense works often exude an Thai and Western traditions, Wongaparaj Pichai Nirand and Damrong Wonguparaj. underlying sense of serenity and reflection. produced mixed media and oil works that Born in 1935, Pratuang Emjaroen is a With the symbolic imagery of the lotus flower emanated a simple peacefulness. Abstract celebrated Thai visual artist who maintains a encapsulated in a soft globe of pink and (Lot 387) is a wondrous example as neat successful international career to date. Named purple hues, Untitled (Lot 390) invites the strokes of paint converge beyond the the National Artist of Thailand in 2005, the viewer to dwell upon the cyclic theme of life. impressionistic depiction of a tree. Upclose, self-taught painter's inquisitive nature played Painted in 1989, Untitled (Lot 391) still retains tiny dots of paint cohabit alongside large a significant part in developing the different significant elements of his early figurative ink-like brushwork against an earthen periods of his creative overvue. style with precise and delicate brushwork. background. A vision of lines and traditional Around the 1960s, Emjaroen's works started On the other hand, strong and swift strokes tones, the present lot highlights Wongaparaj's to have a distinct abstract quality to them as of green, blue and purple govern Untitled as ability execute to a reimagined version life he delved deep into an exploration of colour the brief outlines of fishes stacked against and Nature on canvas. theory. This interest in colour continued one another are blurred. By the time this to stay with him throughout his artistic lot was executed in 1995, Nirand had well pursuits as he travelled widely. Inspired and established the expressive means in which embracing the world around him, Emjaroen's he represented his spiritual beliefs and his paintings matured into a visual expression of life-long study of Buddhist ideology. his experiences and emotions. No. 1 (Lot 389) Creating paintings that were also rooted in and No. 2 (Lot 388) are beautiful examples Buddhist beliefs, the last artist of this trio, of the graceful and richly coloured paintings of this period. Executed two years apart between 1988-1990, both works are similarly 387 characterised by the artist's use of rich oils and a ruling palette of blazing yellows, DAMRONG WONG¬UPARAJ orange and reds. Colours blend seamlessly DAMRONG WONG²UPARAJ against one another as his brush sweeps in ±THAILAND, 1936²2002³ ±國，1936²2002³ additional strokes of blues, greens and white onto his canvas. Abstract 象 Masterpieces in their own right, both lots signed 'B.K Damrong' and dated '65' (lower right) 畫於木 speak of a harmony and balance that reflects oil on canvas laid on board 1965年作 the artist's way of life and his belief that all 70 x 79 cm. (27 ½ x 31 ⅛ in.) Painted in 1965 ： B.K Damrong 65 (右) things happen "in the course of nature".

A fellow recipient of the National Artist HK$150,000250,000 of Thailand salute for the Visual Arts US$20,00032,000 category in 2003, Pichai Nirand (b.1936) is an expressionist and surrealist painter PROVENANCE 來源 who works in oils and mixed media. Shortly Private Collection, USA 美國人收藏

Lot 390 Lot 388

86 388 389

PRATUANG EMJAROEN PRATUANG EMJAROEN PRATUANG EMJAROEN PRATUANG EMJAROEN ±THAILAND, B. 1935³ ±國，B. 1935³ ±THAILAND, B. 1935³ ±國，B. 1935³ No. 2 No. 1 二一 signed in Thai, inscribed 'L.A.' and dated '88' (lower left) signed in Thai and dated '1990' (upper left) oil on canvas 畫 oil on canvas 畫 171 x 128 cm. (67 ⅜ x 50 ⅜ in.) 1988年作 90 x 75 cm. (35 ⅜ x 29 ½ in.) 1990年作 Painted in 1988 ：名 L.A. 88 (左) Painted in 1990 ：名1990 (左上)

HK$100,000160,000 HK$80,000120,000 US$13,00021,000 US$11,00015,000 來源 PROVENANCE 來源 PROVENANCE 日本人收藏 Private Collection, Japan 日本人收藏 Private Collection, Japan

88 390 391 PICHAI NIRAND PICHAI NIRAND PICHAI NIRAND PICHAI NIRAND ±國，B. 1936³ ±國，B. 1936³ ±THAILAND, B. 1936³ ±THAILAND, B. 1936³ Untitled 無題 Untitled 無題

signed 'P. NIRAND' (lower right); signed and dated again, 畫 signed 'P. NIRAND' and dated '1995' (lower right); inscribed 畫 and inscribed 'BANGKOK THAILAND' (on the reverse) 1989年作 in Thai (on the reverse) 1995年作 mixed media on canvas oil on canvas ：P. Nirand (右); PICHAI NIRAND 1989 ：P. NIRAND 1995 (右); (畫) 82 x 66 cm. (33 ¼ x 26 in.) 100 x 130 cm. (39 ¾ x 51 ⅛ in.) BANGKOK THAILAND (畫) Painted in 1989 Painted in 1995

HK$50,00070,000 HK$50,00070,000 US$6,5009,000 US$6,5009,000

PROVENANCE 來源 PROVENANCE 來源日本人收藏 Private Collection, Japan Private Collection, Japan 日本人收藏

90 THE PROGRESSIVE ARTISTS' GROUP AND INDIAN MODERNISM 藝術進步聯盟與現代印度藝術

"If art is in some ways a barometer, then the (Artist statement, Painting and Sculpture Art", Contemporary Indian Art, Glenbarra Art 蘇扎指的絕對表現自由，在被推崇之餘亦惹來了不 Progressive Artists' Group is emblematic of by the Progressive Artists' Group, exhibition Museum, Himeji) 少猜疑、反對及矛盾。然而蘇扎與其他創會成員一 the formative years of modernism in India. catalogue, Mumbai, 1949, unpaginated) The membership of the PAG evolved over the 起堅持他們的理念及藝術。進步藝術家的第一個展 In its move towards individualism, its strong The absolute freedom of expression Souza next few years as Souza, Raza and Bakre left 覽就在1949年2月在巴羅達舉行，之後再在同年轉 leanings towards universal values and its non- spoke of drew as much praise as it did India, and close associates of the group like 到新德里舉行。即使他們有着不同的表現，他們亦 hierarchical attitude, modernism has met suspicion, opposition and even controversy. Bal Chhabda, Vasudeo S. Gaitonde, Bhanu 以不同的風格及不同的題材去表現現代主義，他每 with resistance in this country. But to the However, along with the other founding Rajapadhya, Mohan Samant and Krishen 一個PAG創會成員的現代主義語彙，都與學院派、 Progressives goes the credit for imbibing from members of the group, Souza stood steadfast Khanna expanded its ranks. Eventually, as 浪漫主義、東方主義學派藝術呈對立，而最後PAG internationalism and rooting it here and lending in his beliefs and artistic practice. The more members moved away from Bombay, 亦成功的取代了他們。 it an iconic status." (Y. Dalmia, The Making Progressive's first exhibition was held in Baroda the PAG was officially dissolved in 1954. In 回想PAG創辦初年，蘇扎寫道：「除了我們的年輕 of Modern Indian Art: The Progressives, New in February 1949, and then another in Bombay September 2018, more than sixty years later, 及貧窮之外，我們的共通點是對藝術更好的認識的追 Delhi, 2001, p. x) later that year. Although they took several the Asia Society Museum in New York opened 求。我們有一重探索的精神，而我們亦與物質世界爭 In the 1930s and 40s in India, the idea of different forms, and were expressed across the exhibition The Progressive Revolution: 鬥。我們在會議及討論之中，有著深厚的兄弟情誼， modernism was linked as much with the multiple genres, the modernist vocabularies Modern Art for a New India dedicated to this 一種溫暖而活潑的理念交流。我們以同樣的堅定去批 growth of individual consciousness and of each of the founding members of the PAG pioneering Group, exhibiting a range of works internationalism as it was with the new were united in their antithetical position to the by its members to a new, global audience. 評及稱讚彼此的作品。那時的印度是一個沒有現代主 sense of national identity in the country. academic, romantic and orientalist schools of 義藝術的時期，是一個藝術混亂的時期。」(藝術家 Its expression in literature, theatre, film, art that they succeeded in replacing. 宣言，S. 巴哈杜茲，〈創造的角度〉，《孟買雜誌》，1984年3月7-21日，無頁碼) architecture and art then had important Reminiscing about the first years of the PAG, historical and socio-political dimensions, Raza wrote, "What we had in common besides 透過這些其中更差不多橫跨八十年的藝術家的生 and was frequently supported by cultural our youth and lack of means was that we 涯，這些理念得以進化擴展，然而他們對為印度建 practitioners and groups oriented towards the hoped for a better understanding of art. We 立一個新的現代主義的理念的追求始終沒變。蘇扎 Left. It was in this environment, that Francis had a sense of searching and we fought the 在多年後談及PAG，他自信的指：「現代印度藝 Newton Souza founded the Progressive material world. There was at our meetings 術是由進步藝術家組織所發起的。在那之後差不多 Artists' Group (PAG) on the eve of India's and discussions a great fraternal feeling, a 五十年的現在，現代藝術印度藝術看來更成為了世 Independence in 1947 along with fellow artists certain warmth and a lively exchange of ideas. 上最好的藝術流派。要指出的是，進步藝術家所創 Syed Haider Raza, Krishnaji Howlaji Ara, Hari We criticised each other's work as surely as Drawing by S.H. Raza of the Progressive Artists" Group members at their exhibition in Bombay, 1949 造的形象在當時的藝術史語境來說是革命性的。」 Ambadas Gade, Sadanand Bakre, and Maqbool we eulogised about it. This was a time when Image reproduced from Souza in the Forties, exhibition catalogue, New Delhi, 1983 (藝術家宣言，〈我的藝術信條〉，《當代印度藝 Fida Husain in Bombay. there was no modern art in our country and a 術》，格蘭巴拉藝術館，姬路市) Originally linked ideologically with the period of artistic confusion." (Artist statement, PMG的成員在之後幾年有着不少變遷，蘇扎、拉 Communist Party of India, the PAG soon S. Bahadurji, "Point of Creation", Bombay 「如果藝術某程度上是一個指標，那麼進步藝術家達．胡珊等藝術家同仁在孟買創立了進步藝術家組扎及巴克離開印度；同時，緊密夥伴如巴爾．察合 invalidated these ties in favour of strong Magazine, 7-21 March 1984, unpaginated) 組織就是印度現代主義創始時期的一個象徵。在他織 (PAG)。 modernist intentions. Rejecting academic 達、華蘇迪奧．S．佳通迪、巴努．拉賈柏迪耶、 Through the course of these artists' careers, 們對個人主義的趨向，普世價值的傾向，以及平等 PAG 最初在意識形態方面與印度共產黨關連甚 realism and the art of the Bengal school, the 莫罕．沙曼達及克斯申．罕那加入。後來隨著更多 some extending across nearly eight decades, 的態度之中，現代主義在這國家面對各方不同的抵深，但很快便摒棄這重關係，而去追求強烈的現代 PAG looked towards folk art, classical painting 會員離開孟買， PAG 在1954年正式解散。在2018 these idioms evolved and expanded, but their 抗。但對進步藝術家而言，他們從國際主義中提取主義思想。PAG 同時否定學院派的現實主義及孟 and sculpture, combining them with western 年9月，差不多六十年後，紐約的亞洲協會美術館 conviction and commitment to the ideal of 養分，並使它在這裏扎根，為他創造了其代表性的加拉學派的藝術，PAG取法民俗藝術、傳統繪畫與舉行了題為《進步藝術革命：新印度的現代藝術》 art to produce a unique mode of expression. building a new, modern cannon of art for 地位等，都是值得推崇的。」(Y．達米亞，《印度雕塑，把他們與西方藝術融合，創造出獨特的表現 Souza articulated this course concisely, India remained unchanged. Writing on the 專題展覽，向這先驅組合致敬，亦向新的環球觀眾現代獨藝術的生成：進步藝術家》，新德里，2001) 方式。蘇扎簡明的闡釋了這個方向：「今日我們以 writing, "Today we paint with absolute freedom PAG many years later, Souza proudly stated, 展示了它的會員的一系列作品。在30及40年代的印度，現代主義思想與個人意識絕對的自由去繪畫跡近無政府的內容及技巧，我們 for content and techniques almost anarchic; "Modern Indian Art was launched by the 及國際主義互相影響關聯，亦是這個國家的一個新只受一兩個實在的、永恆美學的次序、造型的協調 save that we are governed by one or two sound Progressive Artists' Group. Since then, almost 的國民身份象徵。文學、劇場、電影、建築及藝術及色彩的構成等法則所制約。我們不去假意表現要 elemental and eternal laws, of aesthetic order, 50 years now, it appears that modern Indian art 的表現有着重要的歷史及社會政治背景，亦常被傾復興任何藝術學派及活動。我們學習了不同的繪畫 plastic co-ordination and colour composition. has become the best art school in the world […] 及雕塑流派，並創造出一個劇烈的集大成。」(藝 We have no pretensions of making vapid The point to be noted here, is that the imagery 向左派的文化人及組織所支持。在這個環境之下， revivals of any school or movement in art. We that the Progressive Artists created was 法蘭西斯．紐頓．蘇扎在1947年印度獨立的前夜，術家宣言，《進步藝術家的繪畫與雕塑》，展覽圖 have studied the various schools of painting revolutionary in the context of the art history 與賽耶．海達．拉扎、克斯那茲．侯拉茲．亞拿、錄，孟買，1949年，無頁碼) The Progressive Revolution. Modern Art for a New India, and sculpture to arrive at a vigorous synthesis." of its time." (Artist statement, "My Credo in exhibition catalogue, Asia Society, New York, 2018-19, cover 哈利．安巴達斯．嘉地、撒達蘭．巴克及麥布．費

92 393 BIKASH BHATTACHARJEE (INDIA, 1940-2006) Untitled (Rooftops)

signed 'Bikash' (lower right) oil on rexine 85.1 x 100.3 cm. (33 ½ x 39 ½ in.) Painted circa 1960s

HK$480,000-640,000 US$62,000-82,000

PROVENANCE Acquired directly from the artist Private Collection, New Delhi Acquired from the above by the present owner

比卡舒．百達察茲 (印度，1940-2006)

無題 (屋頂)

油彩樹脂約1960年代作款識：Bikash (右下)

來源前藏家直接購自藝術家新德里私人收藏現藏家購自上述收藏

393

392 Unlike his predecessors, Bikash Bhattacharjee was neither interested in traditional Indian painting techniques nor the modernist art scene in Bombay. Rebuffing abstraction altogether, the artist instead focused on photorealist depictions of subjects often omitted JAMINI ROY 吉米尼．萊伊 from Indian visual culture, such as depicting the life of the Bengali middle-class society of his home city of Calcutta. He is now widely considered one of the foremost Indian realist painters. Composed with a still-life sensibility, Bikash Bhattacharjee's Untitled (Rooftops), (INDIA, 1887-1972) (印度，1887-1972) recalls the style and technique of American realist painters, such as Andrew Wyeth. This influence is beautifully rendered in his Untitled (The Flower) 無題 (花) uniquely Indian scenes, inspired by the political and social climate of North Calcutta. Bhattacharjee revisited the view from his roof several times in the early years of his career. He recalls this period, noting, "[...] in the signed in Bengali (lower right) 蛋彩卡板 tempera on card "70s, when we had our studio at 52 Chowinghee, there were ancient, cool rooms and balconies bathed in mysterious half-light. The 款識：孟加拉語藝術家簽名 (右下) 76 x 35 cm. (29.7/8 x 13.3/4 in.) upper floor lay empty except for the old owner who lived alone. All this excellently matched my thoughts and reflections and found a niche in my works." (Artist statement, M. Majunder, Bikash Bhattacharjee: Close to Events, New Delhi, 2007, p. 183) HK$250,000-350,000 In this cityscape, the atmosphere is haunting and the city seems to be completely uninhabited, bathed in an eerie silence. Underlining US$33,000-45,000 the artist's realist approach is a strong sense of the psychological, surreal and the abstract. Softly lighting this view of the city with golden-yellow sunlight, Bhattacharjee's meticulous handling of paint and colour imbues this work with a naturalistic perfection that is PROVENANCE 來源 both arresting and deeply engaging. The collection of Austin Coates Austin Coates先生舊藏 Bikash Bhattacharjee 與其前輩們不同，他的關注點既不在傳統印度繪畫技巧，也不在孟買的現代藝術圈。他摒棄了抽象藝術，專注於照相寫 Bonhams London, 12 October 2005, lot 269 2005年10月12日邦瀚斯倫敦拍品編號269 實主義，描繪印度視覺文化中時常忽略的主題，比如其家鄉加爾各答的孟加拉中產階級社會的生活。如今，他被視為印度寫實藝術的領銜藝術 Acquired from the above by the present owner 現藏家購自上述拍賣家。此幅《無題(屋頂)》有著靜物畫般的敏銳度，不無美國寫實畫家如安德魯·維斯的畫風與技巧，用以呈現獨有的印度景致，反映加爾各答北

EXHIBITED 展覽部的政治與社會氣候。 1972年4月30日至5月10日「印度大師： Singapore, Alpha Gallery, Jamini Roy - The Indian Bhattacharjee 在其藝術事業中數次回到其屋頂望出去的景致。「… 在七十年代，我們的畫室位於Chowinghee 第52號，有著古老清爽的房間，吉米尼．萊伊」阿爾法畫廊新加坡 Maestro, 30 April - 10 May 1972 陽台沉浸在神秘朦朧的光線中。上層除了年邁的房東一人住在那裡，沒有其他人。這些都與我的想法和思路不謀而合，構成我作品中的突出特出版色。」(M. Majunder，《Bikash Bhattacharjee: Close to Events》，新德里，2007年，183頁)在這片城市景觀中，氛圍強烈，似乎被寂靜所佔 LITERATURE 1972年《賈米尼．萊伊：印度大師》據。藝術家的寫實手法中蘊含了一層精神上的超現實與抽象。金黃的陽光溫柔地照亮整座城市，藝術家對顏料和色彩的運用一絲不苟，賦予此作 Jamini Roy – The Indian Maestro, exhibition catalogue, (展覽圖錄) 新加坡 (圖版，無頁碼) 完美的寫實感，絲絲入扣，發人深省。 Singapore, 1972, (unpaginated, illustrated) 94 "The Sacred Ganga in Varanasi is unique in the world. The city emerging at its bank has an overwhelming impact on people. Every sight was like a new composition, a still life artistically organised to be interpreted in colours. It was not merely outward appearances which were fascination but they were vibrant with an inner life of their own, very deep and profound, which left an everlasting impression on my artistic sensibility. I could feel a new visual language emerging from the depth of an experience." (Artist statement, Ram Kumar, A Journey Within, New Delhi, 1996, p. 89) In 1960, Ram Kumar traveled for the first time to the pilgrimage center of Varanasi, now considered a pivotal moment in the artist's life and career. The impression the holy city left on Kumar's artistic sensibility heralded a marked change in his work in the early 1960s, perhaps the most significant development over the course of his career. Abandoning his figurative idiom, Ram Kumar sought to express the stark contrasts he had experienced in India's holiest city, particularly those between divinity and mortality, the celebration of life and the rituals of death. This push away from the figural has been celebrated as a new moment in his artistic career, inaugurating an era of nuanced artistry. "By banishing the figure from his kingdom of shadows, Ram Kumar was able to emphasise the nullification of humanity, and to deploy architecture and landscape as metaphors articulating cultural and psychological fragmentation." (R. Hoskote, "The Poet of the Visionary Landscape", Ram Kumar, A Journey Within, New Delhi, 1996, p. 37) Typical of Kumar's paintings of Varanasi during this period, this work is executed with heavy impasto in strongly delineated blocks of colour. The fragile architecture seems to emerge from a battle between the brilliant blue sky and river that converge at the centre of the composition. Here, the city is represented not through its inhabitants, but mapped onto the surface of the canvas through box-like architectural forms, wedged tightly together. Wrestling for space, their jagged edges delimit bands of sky and river above and below, which seem to shrink as these structures swell with the spirit of the city. Describing these paintings, fellow artist Jagdish Swaminathan observed, "Ram Kumar's Benares landscapes lift one out of the toil of the moment into the timeless worlds of formless memories. What he paints now is not what the eye sees in the ancient city, it is rather the response of the soul to the visual impacts. In these canvases he resurrects the images which have distilled into the sub-conscious, acquiring an authenticity and incorruptibility not of immediate experience." (J. Swaminathan, Ram Kumar, A Journey Within, New Delhi, 1996, p. 73)

在瓦拉那西神聖的恆河是世上獨一無二的。在恆河兩岸建立起的這個城市，對人們有着深厚的影響。每一眼都像是新的構圖、一幅叫人以其色彩去解讀的、仔細描繪的靜物畫。它不只外表引人入勝，更有着它自己內在躍動，有非常深厚的底蘊的生命，在我的藝術觀感之中烙下了永恆的印象。我可以感受到從這經驗之中湧現出來的全新的藝術語彙。 - 拉姆．古馬爾，1996年 (引自拉姆．古馬爾，《內在之旅》，新德里，1996年，89頁)

在1960年，拉姆．古馬爾第一次造訪瓦拉那西這個聖地，這亦廣被認為是藝術家生命與藝術生涯的轉捩點。聖城的印象在他的藝術感知留下了烙印，並啟導了他在60年代初期作品的重要轉變，這或許是他藝術生涯之中最重 394 要的一個發展。揚棄了他的具像藝術語彙以及奪目的色彩，以及除了深沉的棕或及灰色之外的奪目色彩，拉姆．古馬爾表現了他在印度最神聖的城市之 RAM KUMAR 拉姆．古馬爾中感受到的強烈反差，尤其是神聖與世俗的分野，新生命的愉悅與死亡的祭祀。離棄具象藝術風格，被認為是他藝術生涯的一個新生，開啟了一個陰沉 (印度，1924-2018) (INDIA, 1924–2018) 而深遠的藝術時期。「透過從他陰影國度之中放逐具象，拉姆．古馬爾得以強調人物的虛無，建築及山水作為表現文化及心理支離破碎的隱喻。」 Untitled (Varanasi) 無題 (瓦拉那西) (R. 何斯各特，〈意象風景的詩人〉，《拉姆．古馬爾：內在之旅》，新德里， signed in Hindi and dated '65' (lower left); 1996 37 ) 油彩畫布年，頁 further signed and dated 'RAM KUMAR / 65' (on the reverse) 1965年作 oil on canvas 此作有着古馬爾這段時期典型的瓦拉那西畫系列的特色，以厚塗重彩營造出各自 68.6 x 130.5 cm. (27 x 51 3/8 in.) 款識：印地語藝術家簽名及'65' (左下)；RAM KUMAR 65 (畫背) 分離的色塊。脆弱的建築物看來就像在明亮的青天與在作品構圖正中間匯合的河 Painted in 1965 川交戰之中浮現。在此作中，城市了無人煙，以盒子般的建築形象緊密的畫面佈置。這些建築物互相爭奪空間，它們不規則的邊緣界定了在上的天和在下的河 HK$1,200,000-1,800,000 流，在建築物充滿着城市的精神之下，天與河川顯得渺小。 US$160,000-230,000 藝術家雅迪舒．斯瓦米拿敦曾這樣這一系列作品：「拉姆．古馬爾的瓦拉那西風景畫，讓人得以在無形的記憶的永恆世界之中，暫時忘卻世間煩惱。他今天 PROVENANCE 來源畫的不是眼目可見的這個古城，而是靈魂對視覺衝擊的一個回應。在這些畫面 Sotheby's New York, 18 September 2008, lot 22 2008年9月18日蘇富比紐約拍品編號 22 上，他復甦了深入到潛意識的圖像，達致了即時感官所沒有的真實與永恆。」 Acquired from the above by the present owner 現藏家購自上述拍賣 (J. 斯瓦米拿敦，《拉姆．古馬爾：內在之旅》，新德里，73頁)

LITERATURE 出版 1996年《拉姆．古馬爾：內在之旅》G. Gill編新德里印度 G. Gill (ed.), Ram Kumar, A Journey Within, New Delhi, 1996, p.106 (illustrated) (圖版，第106頁)

96 396

AVINASH CHANDRA 亞維納舒．真德羅 395 (INDIA, 1931-1991) (印度，1931-1991) SADANAND BAKRE 山德蘭．巴克 Untitled (Landscape) 無題 (風景) signed 'Avinash' (lower left) (印度，1920-2007) 壓克力纖維板 (INDIA, 1920-2007) acrylic on masonite board 74.9 x 100.3 cm. (29 ½ x 39 1 in.) 款識：Avinash (左下) Untitled 無題 HK$200,000-280,000 signed 'Bakre' and further signed and dated in Marathi 油彩畫布 (on the reverse) 1961年作 US$26,000-36,000 oil on canvas 50.8 x 76.2 cm. (20 x 30 in.) 款識：馬拉提語藝術家簽名Bakre及日期 (畫背) Painted in 1961 PROVENANCE 來源 Estate of the artist 藝術家遺產 HK$95,000-150,000 Osborne Samuel Gallery, London, 2014 2014年英國倫敦Osborne Samuel 畫廊 Acquired from the above by the present owner US$13,000-19,000 現藏家購自上述畫廊 LITERATURE 出版 PROVENANCE 來源 Humanscapes, Avinash Chandra: A Retrospective, exhibition catalogue, 2015年《人類風景：亞維納舒．真德羅回顧展》(展覽圖錄) Acquired directly from the artist 前藏家直接購自藝術家 2015, p. 71 (illustrated) (圖版，第71頁) Private Collection, Maharashtra 馬哈拉施特拉邦私人收藏 Memory & Identity, Indian Artists Abroad, exhibition catalogue, 2016, p. Acquired from the above by the present owner 現藏家購自上述收藏 250(illustrated) 2016 年《記憶與身份，海外印度藝術家》(展覽圖錄) (圖版，第250頁) India's Rockefeller Artists: An Indo-US Cultural Saga, exhibition 2017年《印度洛克菲勒藝術家：印美文化傳奇》(展覽圖錄) catalogue,2017, p. 160 (illustrated) ( 160 ) LITERATURE 出版圖版，第頁 2016年《記憶與身份，海外印度藝術家》(展覽圖錄) Memory & Identity, Indian Artists Abroad, exhibition catalogue, 2016, EXHIBITED (圖版，第210頁) p. 210 (illustrated) New Delhi, Mumbai, Delhi Art Gallery, Humanscapes, Avinash Chandra: A 展覽 Retrospective, 2015-16 2015-16年《人類風景：亞維納舒．真德羅回顧展》德里畫廊展覽 EXHIBITED New York, New Delhi, Mumbai, Delhi Art Gallery, Memory & Identity, Indian 新德里、孟買 2016-17年《記憶與身份，海外印度藝術家》德里畫廊 New York, New Delhi, Mumbai, Delhi Art Gallery, Memory & Identity, Artists Abroad, 2016-17 2016-17年《記憶與身份，海外印度藝術家》德里畫廊紐約、紐約、新德里、孟買 Indian Artists Abroad, 2016-17 New York, Delhi Art Gallery, India's Rockefeller Artists: An Indo-US 新德里、孟買 Cultural Saga, 2017-18 2017-18年《印度洛克菲勒藝術家：印美文化傳奇》德里畫廊紐約

98 MAQBOOL FIDA HUSAIN

(1913-2011)

Portrait of M. F. Husain, circa 1960 Photo by Jyoti Bhatt

397 "One of the most revealing aspects of an artist's work is his sense Indian sculptures and miniatures which was shown in 1948 [...] It Following nearly two decades living in North 生於果亞的法蘭西斯．紐頓．蘇扎是進步藝術 FRANCIS NEWTON SOUZA of the past [...] Behind every stroke of the artist's brush is a vast was humbling. I came back to Bombay in 1948 with five paintings, London, Souza emigrated once again to settle 家組織的創會成員，亦是其中最突出及受爭議 hinterland of traditional concepts, forms, meanings. His vision which was the turning point in my life. I deliberately picked up two (INDIA, 1924-2002) in the United Sates in 1967. What followed 的一位。差不多被所有他報讀的學院驅逐出 is never uniquely his own; it is a new perspective given to the or three periods of Indian history. One was the classical period of was a particularly joyful period for the 校，蘇扎是印度現代藝術大師之中的壞孩子。 Untitled (Landscape) collective experience of his race. It is in this fundamental sense that the Guptas. The very sensuous form of the female body. Next, was artist, during which his works became more 在1949年，在他於孟買舉行的展覽受到政府審 we speak of Husain being in the authentic tradition of Indian art. He the Basholi period. The strong colours of the Basholi miniatures. signed and dated 'souza 75' (upper left) abstracted and full of riotous cacophonies of 查及警察查封之後，他是組織內第一個離開印 oil on canvas has been unique in his ability to forge a pictorial language which is The last was the folk element. With these three combined, and bright colour, often squeezed directly from 度遠赴歐洲的藝術家。在倫敦北部差不多居住 indisputably of the contemporary Indian situation but surcharged using colours – very boldly as I did with cinema hoardings [...] I 41.6 x 58.7 cm. (16.3/8 x 23.1/8 in.) the tube. This present painting from 1975 了20年之後，蘇扎再次移民到美國。在此之後 with all the energies, the rhythms of his art heritage." (E. Alkazi, M. F. went to town [...] That was the breaking point [...] To come out of Painted in 1975 encapsulates this iconic optimistic period. 是一段對蘇扎來說十分愉快的時期，他的作品 Husain, New Delhi, 1978, p. 3) the influence of British Academic painting and the Bengal revivalist HK$200,000-400,000 Inspired by his immediate surroundings, 變得更為抽象，充滿通常直接由油彩管噴射出 The unique "pictorial language" of Maqbool Fida Husain described school." (Artist statement, P. Nandy, The Illustrated Weekly of India, the genre of landscape was a cornerstone 來的奪目耀眼、明亮色彩。繪於1975年的這幅 US$26,000-51,000 by his friend, admirer and collector Ebrahim Alkazi in 1978 is 4-10 December 1983) of Souza's oeuvre. Fellow artist Jagdish 作品，即有着這代表性的樂觀時期的特色。 masterfully represented in Siva and Parvati. By the time he painted In Siva and Parvati, which displays all of the above influences, Swaminathan has described Souza as a PROVENANCE this double-portrait, Husain had travelled extensively across India Husain uses a tender palette of pink and blue tones to almost sculpt "painter of cityscapes and religious themes. 他的藝術家同濟雅迪舒．斯瓦米拿敦就曾形 Osian's Mumbai, 5 December 2002, lot 143 and had seen and closely studied various forms of folk and classical the figures of Siva, Parvati and Nandi from a brilliant background. While in the latter he is loaded with a troubled 容蘇扎是一個「城市風景與宗教主題的畫 Acquired from the above by the present owner Indian art. Here, he borrows the theme of the timeless couple from The figures are delineated with sharp, strong lines and the sensuous presentiment, in the former he is singularly 家。後者他充滿對未來的擔憂，前者他卻就有 traditional representations of the god Siva and his wife, the goddess bodies radiate a sense of strength and movement. devoid of emotive inhibitions [...] Souza's 着獨有的、大膽奔放的情感。蘇扎的城市風 Parvati. Seated on the bull Nandi, the usual vehicle of Siva and cityscapes are the congealed visions of a 景畫，是一個撲朔迷離世界的混沌形象。」 By the early 1980s, when this work was painted, Husain had defined Parvati, the couple is represented closely entwined in an intimate 法蘭西斯．紐頓．蘇扎 mysterious world." (J. Swaminathan, 'souza's (J. 斯瓦米拿敦，〈蘇扎展〉，《當代藝術 40》，1995 his unique style with confident brushstrokes and application of 年3月，31頁) embrace, Siva firmly holding Parvati close to him. (印度，1924-2002) Exhibition", Lalit Kala Contemporary 40, paint. In its theme and aesthetics, Siva and Parvati represents the March 1995, p. 31) 受到他周遭環境而啟發的風景畫，無疑是他 Husain plays with the Hindu iconography by referencing the figure complete spectrum of Husain's ingenuity, particularly the artist's of Siva through his attributes: the trident or trisula in his right unique way of channeling various traditions to create an original, 無題 (風景) The present landscape is inspired by the 作品之中的奠基石，此作興許是在片刻對印 hand, the crescent moon and the river Ganga flowing from his modern artistic language. prominent Moghul architecture of North India 度次大陸莫臥兒建築風格的懷古之情啟發下而油彩畫布 matted locks. Husain uses Siva and Parvati to represent their story and mosques. Against a piercing blue night 成。在藍色的夜空下，是泰姬陵等象徵性的建 1975 年作 in a contemporary visual language by borrowing the main features sky, the white dome and slender minarets, 築物中，最為人所認識的白色拱頂與纖幼的宣款識：souza 75 (左上) of the myth. most famous in iconic structures like the Taj 禮塔，它們如在如前景茂密的綠樹一樣隔風飄 Mahal, appear to billow in the wind, just like 揚。與五六十年代充斥着悲觀情緒的陰沉宗教 Complementing his use of ancient Indian iconography, the 來源 the green trees in the foreground. Unlike the 風景不同，此作的五彩斑爛，突破線條框架， treatment of the figures here also draws from the temple sculptures 2002 12 5 143 孟買奧西安，年月日，拍品編號 artist's malevolent religious landscapes of the 使得作品彷彿有着璀璨愉悅的躍動。 of Mathura and Khajuraho that Husain discovered as early as 1948 現藏家購自上述拍賣 1950s and 60s, this painting with its riot of when he travelled to Delhi with Francis Newton Souza. Husain colours unconstrained by the draughtsman's recalls, "We went to Delhi together to see that big exhibition of line, seems to almost dance with iridescent joy.

100 PROPERTY OF A PRIVATE COLLECTOR, INDIA 印度私人收藏

398

MAQBOOL FIDA HUSAIN 麥布．費達．胡珊 (INDIA, 1913-2011) (印度，1915-2011)

Untitled (Siva and Parvati) 無題 (濕婆與帕爾瓦蒂) signed in Malayalam (upper left) and 油彩木板 dated '1981' (lower right) oil on board 1981 年作 120.6 x 89.5 cm. (45 1 x 35 1/4) 款識：馬拉雅拉姆語藝術家簽名 (左上)；1981 (右下) Painted in 1981

HK$1,400,000-1,800,000 US$180,000-230,000

PROVENANCE 來源 Kala Yatra, Bangalore 印度班加羅爾 Kala Yatra畫廊 Acquired from the above by the present owner, 1982 現藏家於1982年購自上述畫廊

EXHIBITED 展覽 1982年3月《當代印度繪畫與雕塑》Kala Yatra畫廊 Bangalore, Kala Yatra, Contemporary Indian Painting and 班加羅爾印度 Sculpture, March 1982

出版 LITERATURE 1982 年《當代印度繪畫與雕塑》(展覽圖錄) Kala Yatra Contemporary Indian Painting and Sculpture, exhibition catalogue, 畫廊班加羅爾印度 (圖版，無頁碼) Kala Yatra, Bangalore, 1982, unpaginated (illustrated)

「藝術家作品中最有揭示性的元素是他對過除古印度聖像學以外，其對人物的處理亦有來自馬去的觀念。[ … ] 藝術家每一筆的背後都蘊藏圖拉和克久拉霍的廟宇雕像的影響，他早在1948 了對傳統概念、造形和含義的無限基礎。他年與弗蘭西斯·紐頓·蘇沙一同去德里時便見識了這的視角從不會完全屬於他自己；而是一個種些雕塑。「我們一同去德里參觀了1948年印度雕族集體經歷的新視角。在此框架中，我們視塑和小像的展覽[…] 是很讓人謙卑的一次經歷。我 Husain 為印度藝術傳統真實的繼承者。他有 1948年帶了五幅畫回孟買，這些畫是我人生的轉著獨特的能力，編織出屬於當代印度現狀的的捩點。我刻意挑選了印度歷史中兩三個時期，首先視覺語言，充滿其藝術根源的力量和韻律。是笈多王朝，那婀娜多姿的女性線條。其次是巴斯 (E. Alkazi，《M. F. Husain》新德里，1978年，3頁) 霍赫利時期，那些小像的鮮艷色彩。最後是民俗元 Ebrahim Alkazi 是 Maqbool Fida Husain 的好素。結合這三者，運用色彩，與電影海報一般鮮明友、欣賞者兼收藏家，他於1978年所說的這個獨 […] 我去到鎮上 […] 那便是轉捩點 […] 走出英國特的「視覺語言」在此幅《無題(濕婆與帕爾瓦學院派繪畫以及孟加拉復古主義畫派的影響。」蒂)》中表現無遺。他創作此幅雙人肖像時已遊歷 (藝術家自述，P. Nandy，《The Illustraged Weekly of India》，1983年12月4-10日) 印度各地，見識並仔細研究了各種民俗和古典印度藝術。此畫中，他借鑒濕婆和其妻雪山神女帕爾瓦透過《無題(濕婆與帕爾瓦蒂)》，可見所有靈感來蒂(濕婆與帕爾瓦蒂)，坐在他們的慣常坐騎公牛南源之融會貫通。以柔和的粉色與藍色調從鮮艷的藍迪之上，兩人親暱相擁，濕婆把帕爾瓦蒂緊抱在身色背景中把南迪、濕婆和帕爾瓦蒂這三個造形雕塑旁。此構圖參考南印度藝術傳統像學，濕婆是摩醯而出，鮮明深刻的輪廓線條與柔美的身體線條散發首羅，帕爾瓦蒂便是烏瑪，他們坐在公牛上，在岡出力量與動態。在創作此畫的1980年代，Husain 仁波齊峰面向山谷。Husain 根據印度聖像學，呈已經形成其獨樹一幟的畫風，筆觸堅定自信，厚現濕婆的象征：右手拿著三叉戟，頭上頂著一彎新塗有力。此作品《無題(濕婆與帕爾瓦蒂)》突顯了月，還有從他束起的頭髮流淌出的恆河。Husain Husain 的巧思，如何融合各種傳統，編織出屬於自己的現代藝術語言。 A Black Stone Stele of Umamaheshwara, India, Gujarat, 11th 借鑒古印度神話中的故事內容，以當代的藝術手法 century Christie's New York, 13 September 2017, lot 614 呈現嶄新的畫面。

102 399 SYED HAIDER RAZA 耶．．拉 ±INDIA, 1922²2016³ ±印，1922²2016³

Prakrti 原 signed and dated 'RAZA '91' (lower left) and titled in Hindi (lower 畫 right); further signed, dated, inscribed and titled 'RAZA / 1991 / 120 1991 X 120 cms / 'PRAKRTI' / Acrylique sur toile' (on the reverse) 年作 acrylic on canvas ：RAZA '91 (左)：「拉'91」及Prakrti (印地， 120 x 120 cm. (47 ¼ x 47 ¼ in.) 右)；RAZA / 1991 / 120 X 120 cms / 'PRAKRTI' / Painted in 1991 Acrylique sur toile (畫)

HK$800,0001,200,000 US$110,000150,000

PROVENANCE 來源 Sotheby's New York, 18 September 2008, lot 48 2008年9月18日蘇富約品 48 Acquired from the above by the present owner 藏家自上

While S. H Raza's first compositions based on the concept of nature (prakriti) and 雖然早期於「原」及以造為主題的畫作均有拉代表性的 the theme of creation were marked by fluid, gestural brushstrokes, this notion was 筆，這被用在拉80年代之，有精細的 soon adapted to the planned, geometrical pictorial structures that characterised his paintings from the 1980s onward. In the present painting, Raza pushes his non- 作品之中。在此作中，拉的象藝術風格發，圖 representational idiom to its limits, assembling colour sequences and shapes in a 成一精細的圖。拉以目的去造一有五種 fine, grid-like composition. Using a luminous spectrum of hues, the artist creates a hypnotic visual diagram with the five primary colours that synthesises the potent 原的覺圖，和了東方圖中的象。 symbolism of colour from Eastern and Western iconographic traditions. 「原」在他的作品之中一是一常見及重要的。拉以特的 The concept of nature remains pervasive and integral in this work. Raza uses specific 及圖來代表自然象及期的。作品用、V及心 colours and shapes to signify natural phenomena and diÌerent phases of the eternal cycle of life. Holding together the pattern of horizontals, chevrons and concentric 圖。正中心的，被成出的種「」， circles, is a bindu, or the black orb at the centre, interpreted as both the seed where 代表的完。「」是象的圖，在畫作中他以的變化 the genesis of creation takes place and a void representing its ultimate end. 出。他是的，代表了拉對的。在「 More than just an abstract graphic device, the bindu recurs on the canvas with many variations. It is the focal point of meditation and concentrated energy and represents 」的上一的V代表，象了之樹及中平性 Raza's entire perception of the universe. The series of inverted triangles above and 的性。 below the bindu symbolise fertility and germination, alluding to the tree of life and prakriti, or the universal feminine force that balances purush, the male force. 在一去大及美國的之中，拉的受象表主及 During a visit to the United States and Canada in the early 1960s, Raza was 主藝術家．和法．特拉的作品。《原 considerably aÌected by the work of Abstract Expressionist and Minimalist artists 》一作中精細重及心，以出特拉的《日本， such as Mark Rothko and Frank Stella. In terms of methodical repetition and concentric sequencing, a link can be made between Stella's works and Raza's Prakrti. 1962》作品的聯。然特拉除主觀情，拉的作品 But where Stella wanted to eradicate subjective emotion, Raza's works are suÌused 有的精神思。「其中有天蓋地的，為他的 with a deep spirituality. "There is an implicit sense of timelessness which is all- 作品來了的。這裏他有要法，正他的早期作品一 pervasive, which brings a diÌerent meaning to his pictures. There is no reference here, as with his earlier work [...] Instead he has "abstracted" from nature its essence, its 。[] 自然象的精，對人深的象。 deeper implications for mankind." (G. Sen, Bindu: Space and Time in Raza's Vision, (G. ，中的時空，德，1997，27) New Delhi, 1997, p. 27)

Raza in his studio in Paris Image reproduced from A. Vajpeyi, A Life in Art: Raza, 2007, unpaginated Published by Art Alive Gallery, New Delhi

104 400 阿克伯．巴淡西 AKBAR PADAMSEE (印度，1928年生) (INDIA, B. 1928) 無題 (超景)

Untitled (Metascape) 油彩畫布 signed and dated 'PADAMSEE 07' (lower right) 2007年作 oil on canvas 款識：PADAMSEE 07 (右下) 91.5 x 137.2 cm. (36 x 54 in.) Painted in 2007

HK$1,200,000-1,800,000 US$160,000-230,000

PROVENANCE 來源 Sotheby's New York, 24 March 2010, lot 153 2010年3月24日蘇富比紐約拍品編號 153 Acquired from the above by the present owner 現藏家購自上述拍賣

Akbar Padamsee's Metascapes, a series of paintings the artist began in 阿克伯．巴淡西的《超景》系列創始於70年代早期，代表了藝術家與風景 the early 1970s, represent his long and distinctive involvement with the 畫這一題材悠久而獨特的關係。正如《超景》一詞所表現，巴淡西在這些 genre of landscape. As the word Metascape suggests, in these paintings 作品之中關注的是幻想及原型的風景，這道風景在圖像上以亙古的元素如大 Padamsee is concerned with the mythic or archetypal landscape, which 地、太陽及月亮在時空之中的嚴謹佈置而得以呈現。「相比起描繪所見的 is expressed visually by a stringent ordering of timeless elements, such 自然世界，藝術家表現的是他視覺空間完全的概念性及形而上的一面。他 as the earth, the sun and the moon, in temporal space. "Rather than 的作品透過表現及感觀，去建構出一個非關寫實認知的直接觀感經驗。」 an intent to describe the natural world per se, the artist's object was (B．西充，《阿克伯．巴淡西的：語言作品》，孟買，2010，195頁) the total conceptual and metaphysical ken of his visual environment, 大膽的色彩運用以及藝術家對材質及結構的重視，與他選擇為主題的風景 with his paintings impressing an immediate perceptual experience that 相輔相成，褐土色調平衡了紅藍黃三色的鮮明，使得他們更加璀璨。色彩 relied on expression and sensation rather than realist recognition." (B. 在這個靜止的空間之中更富動感。耶輸陀羅．達米亞如此形容巴淡西的《超 Citron, Akbar Padamsee, Work in Language, Mumbai, 2010, p. 195) 景》：「以厚塗手法表現的光與暗，精彩地相互配合着，他們表現了山巒、 The use of a bold palette, and the importance the artist places on texture 田野、天空與河川。色彩細緻的律動如同藝術家大部分的傑作般變得熾熱， and construction, complements his choice of landscape as subject, with 表現了無盡的時間與空間。」(Y．達米亞，《印度獨立後的當代藝術》，新 earthy tones offsetting vibrant reds, blues and yellows, making them even 德里，1997，17頁) more luminescent. The colours evoke a sense of movement in an unmoving space. Yashodhara Dalmia describes Padamsee's metascapes as "[...] 巴淡西此作的構圖作畫方式，是以調色刀跡近雕塑他的顏料，表現了他從具 brilliantly choreographed planes of light and dark made in thick impasto 像現代主義之中分道揚鑣，重新在熾烈的色彩之交互的潛藏表現的之上，建 which evoke mountains, field, sky and water. The controlled cadence of the 構他的藝術。以他交織如歌的色調，明示出傳統印度藝術語彙及哲學思想， colours breaks into a throbbing intensity as the artist in his most masterly 藝術家表現了過去與未來的時間，表現出新生的、只屬於他自己的諧和。 works, evokes infinite time and space." (Y. Dalmia, Indian Contemporary Art Post Independence, New Delhi, 1997, p. 17) Padamsee's method of construction in this painting, using a palette knife to almost sculpt his pigment, represents a graduation from his figurative modernism in favour of an aesthetic based around the potential outcomes of intense colour interaction. Directly referencing traditional Indian artistic idioms and philosophical concepts in his symphony of colours, the artist evokes temporal economies of future and past, creating a newfound harmony all his own.

Akbar Padamsee, Untitled (Metascape), 2011. Christie's New York, 21 March 2018, lot 248, sold for $250,000

106 401 GULAM RASOOL SANTOSH 古楠．拉索爾．山多舒 (INDIA, 1929-1997) (印度，1929-1997)

Camouflage 偽裝 signed in Hindi and dated '61' (lower right); further signed and 油彩畫布 titled 'G R SANTOSH / 16 CAMOUFLAGE' (on the reverse) 1961 oil on canvas 年作 132.5 x 87 cm. (52 1/8 x 34 1/4 in.) 款識：印地語藝術家簽名及'61' (右下)；G R SANTOSH / Painted in 1961 16 CAMOUFLAGE (畫背)

HK$200,000-300,000 US$26,000-38,000

PROVENANCE 來源 Collection of the artist 藝術家原藏 Collection of Hope N. Efron, Washington D.C. 美國華盛頓Hope N. Efron先生舊藏 Sloans & Kenyon, 17 November 2013, lot 1545 Sloans & Kenyon 華盛頓 2013年11月17日拍品編號1545 Property of a Pakistani collector 巴基斯坦私人收藏 Sotheby's London, 7 October 2014, lot 69 2014年10月7日蘇富比倫敦拍品編號69 Acquired from the above by the present owner 現藏家購自上述拍賣

EXHIBITED 展覽 1962年1月22日至2月6 日《G. R. 山多舒》Mayer畫廊及Kumar New York, Gallery Mayer and Kumar Gallery, G. R. Santosh, 畫廊紐約美國 22 January - 6 February 1962

出版 LITERATURE 1962年《G. R. 山多舒》Mayer畫廊及Kumar畫廊紐約美國 G. R. Santosh, Gallery Mayer and Kumar Gallery, New York, 1962, 封面頁 (圖版) front cover (illustrated)

G. R. Santosh, exhibition catalogue, Kumar Gallery, New York, 1962, cover

108 402

JAGDISH SWAMINATHAN 雅迪舒．斯瓦米拿敦 (INDIA, 1928-1994) (印度，1928-1994)

Untitled (Bird, Tree and Mountain Series) 無題 (鳥與山系列) signed and dated in Hindi (on the reverse) 油彩畫布 oil on canvas 137.2 x 91.5 cm. (54 x 36 in.) 1983年作 Painted in 1983 款識：印地語藝術家簽名及日期 (畫背)

HK$800,000-1,000,000 US$110,000-130,000

PROVENANCE 來源 Private Collection, Mumbai 孟買私人收藏 Christie's South Kensington, 10 June 2009, lot 60 佳士得南肯辛頓2009年6月10日拍品編號60 Acquired from the above by the present owner 現藏家購自上述拍賣

"To understand colour as harmony was to limit oneself to look at it as 「以色彩的調和去理解色彩，是把人制限於自然的關聯與表現的代表。[…] 在 representation, be it in terms of nature association or representation [...] 這裏所有有關色調、調和、冷暖色的規條都被打破。因而原色可以用來表現出 Here all the rules of tonalities, of harmonies, of warm and cool colour broke 內在的、思考性的空間。[…] 在色彩的幾何之中，引入表現性的形象，展現出 down. Thus primary colours could be used to achieve an inward growing, 心理象徵性的意味。亦因如此，一座山巒、一棵樹、一朵花、一隻鳥、一塊 meditative space [...] The introduction of representational forms in the 石都不只是一件物件，或是山水的一部份，而是宇宙萬像的一個表現。(藝術 context of colour geometry gave birth to psycho-symbolic connotations. 家宣言，「現代印度藝術：可見的與可能的」，《當代藝術40》，新德里， Thus a mountain, a tree, a flower, a bird, a stone were not just objects 1995，49頁) or parts of a landscape but were manifestations of the universal." (Artist statement, "Modern Indian Art: The Visible and The Possible", Lalit Kala 《無題(鳥與山系列)》一作表現出雅迪舒．斯瓦米拿敦對發展出藝術中對純真 Contemporary 40, New Delhi, 1995, p. 49) 的表現的永恆探求。他指出傳統印度繪畫從來沒有追求以寫實客觀方式去表 Untitled (Bird, Tree and Mountain Series) epitomises Jagdish 現現實世界。在1962年，他與其他藝術界同仁在德里創立名為「1890」的組 Swaminathan's perennial search for developing a pure and true 織。他們摒棄了西方現代主義的理念，以及「孟加拉學院粗野的自然主義與田 representation through art. He argued that traditional Indian paintings were 園理想主義」而去追求「以最純粹的狀態去看現象。」(Y．古米爾編，《印度 never meant to represent reality in the naturalistic objective sense. In 1962, 獨立後的當代藝術》，新德里，1997，298頁) Swaminathan joined with fellow artists to form Group 1890. They rejected 到60年代後期，斯瓦米拿敦發展出一套致力在現代語景之中復興部落及民族 ideals of Western Modernism and the "vulgar naturalism and pastoral 藝術的哲學思想。他提出了一個原始、純粹的理念，揭露出一個原始的、精神 idealism of the Bengal School," instead seeking to 'see phenomena in its 性的及神秘的另類現實。 virginal state." (Y. Kumar, Indian Contemporary Art Post Independence, New Delhi, 1997, p. 298) 以代表性的鳥與山作能指，他創造出一個富思考性及具象徵意味的平面宇宙。鳥與大石看似違反地心引力的法則，在山峰上的虛空寂靜地浮游。這個世界超 By the late 1960s, Swaminathan developed a philosophy which sought to renew tribal and folk art in a contemporary context. He proposed a 越時間與空間，帶來了亦是藝術家最致力追求、讓人深思的寧靜。除了擁抱超 paradigm of primitive purity, revealing an alternate reality that is primal, 現實主義的象徵意義外，藝術家同時亦從印度的視覺文化之中提取養分。平面 spiritual and mystical. Using his iconic, stylised signifiers of bird, tree 的鮮明色彩，令人想起17世紀山地畫派作品，為構圖帶來深厚的意味。 and mountain, Swaminathan conjures a two-dimensional cosmos that 畫作強調了斯瓦米拿敦致力向世界揭露的現實與虛幻的二元。畫作在這二元 is both meditative and metaphorical. The bird and boulder forms appear 之中質疑這究竟是真實的世界或是斯瓦米拿敦甪筆下魔幻世界，所謂的「摩 to hover in the stillness above the mountain peaks defying gravity. This 耶」。「斯瓦米拿敦的形象就如自然之中富象徵意義的守護神，但那個象徵意 world transcends time and space, inducing the meditative tranquillity that 義亦從物質與神秘的世界之中被抽離出來，上升至文學藝術、詩歌的虛空領 became the artist's obsession. Alongside embracing the metaphorical 域之中。」(G. 卡波爾，《當代印度藝術》，倫敦，1982年，第7頁) 藝術家借 qualities of surrealism, the artist also drew inspiration from Indian visual 用了菲臘．羅森提出的「努秘圖像」一詞來表現他的「超越自然」，不為肉眼 culture. The flat planes of bright colour, reminiscent of seventeenth century 所見，但蘊含於各處的空間。在此作中，斯瓦米拿敦調和了一重崇敬萬物的表 Pahari painting, imbue the composition with a sublime quality. 現，透過藝術揭示自然之中未發現的力量。 This painting also typifies the duality between reality and illusion which Swaminathan strived to unveil to the world, questioning whether it is the physical world or Swaminathan's painted enchantment which is an illusion or maya. 'swaminathan treats images like the numen in nature - that is metaphorically, but in a sense where the metaphor is now detached from the material-mythical world, and lifted into the ethereal spheres of lyric art and poetry." (G. Kapur, Contemporary Indian Art, London, 1982, p. 7) The artist borrowed the term "numinous image" from Philip Rawson to speak about his "para-natural", magical and mysterious space that is not obvious, but is inherent everywhere. In this composition, Swaminathan mediates a A folio from the Ragamala: Bhairava Raga, reverential representativeness that seeks to reveal undiscovered forces of Basohli, Pahari region, circa 1700 nature through art. Christie's Mumbai, 18 December 2016, lot 14. 110 403

MAQBOOL FIDA HUSAIN 麥布．費達．胡珊 (INDIA, 1913-2011) (印度，1913-2011)

Untitled 無題 signed in Hindi and Urdu (lower right)

oil on canvas 油彩畫布 101.6 x 76 cm. (40 x 29.7/8 in.) 款識：印地語及烏爾都語藝術家簽名 (畫背)

HK$800,000-1,200,000 US$110,000-150,000

PROVENANCE 來源 Sotheby's New York, 18 September 2008, lot 24 蘇富比紐約 2008年9月18日拍品編號24 Acquired from the above by the present owner 現藏家購自上述拍賣

"Husain is a painter with a carefully selected repertoire always. Husain 「胡珊是一個無論何時也有着精挑細選的作品的畫家。它有涉獵抽象藝 has flirted with the abstract, pondered on its verge, and, periodically has 術，在其界線之中沉思，並如古代的藝術家一樣以文學意象來喚醒他的 revived his own creative faculties by the imposition of a literary motif, 創造力。他最偉大的地方在於，在這麼多的藝術之中，他一直也是麥 much in the tradition of the artists of the past. The great thing about 布．費達．胡珊。」(R. 巴多羅繆，〈S.H. 拉扎的繪畫〉，《沉思》， him is that in all this he has been essentially, and consistently Maqbool 1959年5月16日，翻印於《藝術批評》，新德里，2012, 339頁) Fida Husain." (R. Bartholomew, "Paintings by S.H. Raza", Thought, 16 May 1959) 胡珊是進步藝術家組織的創會成員之一，同時亦可能是在他有生之年之 Maqbool Fida Husain was one of the founding members of the 中，組織最有名的一位。作為印度領軍的現代藝術大師，充滿魅力而博 Progressive Artists" Groups and perhaps the most renowned within 學的胡珊從當時學院派現實主義的樊籬之中打破傳統，但又從沒有遺忘 his own lifetime. As one of India's leading modern masters and 印度的藝術傳統與視覺文化。胡珊在1937年遷居到孟買伊始，以繪畫電 most celebrated artists, the charismatic and erudite Husain broke 影廣告及設計傢俬與玩具為生。在1947年，他加入了新成立的進步藝術 from tradition and the rigidity of prevalent academic realism while 家組織，組織有着一群志向相近的先銳藝術家，他們吸收了民族藝術、 never losing sight of the artistic heritage and visual culture of India. Husain began his career by painting billboards for feature films and 古典繪畫與雕塑，並把他們與西方藝術相結合，創造出一種獨特的表現 designing furniture and toys when he first moved to Bombay in 1937. 方式。胡珊在他藝術生涯中享譽甚隆，參加過世界各地的展覽及雙年 In 1947, he joined the newly formed Progressive Artists Group, a 展。或許最引人注目的是在1971年，他與畢加索一同被特別邀請參加聖 collection of likeminded avant garde artists absorbing Indian folk art, 保羅雙年展。胡珊同時亦為印度政府表揚，獲頒至高榮譽之蓮花裝勛章 classical painting and sculpture and combining them with western 及蓮花賜勛章。 styles and techniques to produce a unique mode of expression. 胡珊最具代表性的女性形象是他作品的核心之一，並經常表現了傳統印 Husain attracted critical recognition and acclaim throughout his 度寺廟雕塑的形象。在此作中的舞女以三曲折的形象表現，這亦是傳統 career, participating in exhibitions and biennales the world over. 寺廟雕塑中可見到的姿勢。胡珊強調這個姿勢表示了「在東方人體是完 Perhaps most significantly, in 1971 he was the special invitee along 全不同的構想 […] 婦女在村莊散步，可以看出有三個曲折的地方 […] 她 with Pablo Picasso for the Sao Paolo Biennale. Husain was also the 的腿、她的臀部和她的肩膀，她們的步履富韻律，而歐洲人的步姿則是 recipient of the Government of India's prestigious state awards, the 直立而古風的。」(藝術家宣言，P. 南迪，《印度插圖周報》，1983年12 Padma Bhushan and Padma Vibhushan. 月4-10日，1983)。包圍着女性的大蛇可能是半人半蛇的神明那伽，亦是 Husain's iconic depiction of the female form is at the heart of the 印度寺廟雕塑的另一個常見主題。 master's oeuvre, often referencing Indian temple sculpture. In this composition female dancers are presented in the tribhanga (three 胡珊以他獨特的風格，從梵語哲學思想中的藝術愉悅之中提取養分。胡 bends) pose, a traditional stance found in temple sculpture. Husain 珊想要在平面的畫布之上表現雕塑、繪畫、音樂及舞蹈等藝術形式。這 emphasised this choice, stating that "in the East the human form is an 些富韻律美感的舞女的抽象形式，以他具代表性的粗線條及富個人特色 entirely different structure [...] the way a woman walks in the village 的炫目色調表現。他鮮明耀眼的色彩運用，為他的作品的人物帶來強烈 there are three breaks [...] from the feet, the hips and the shoulder [...] 的情感與轉化的力量。 they move in rhythm, the walk of a European is erect and archaic." (Artist statement, P. Nandy, The Illustrated Weekly of India, December 4-10, 1983) The serpent which Husain depicts flanking the women, possibly Naga, the divine being that is part human and part cobra, is another iconic subject of temple sculpture in India. In his own unique style, Husain drew from the Sanskrit philosophical notion of rasa or aesthetic rapture. He sought to express each of the artistic forms of sculpture, painting, music and dance through the two-dimensional surface of the canvas. The abstracted forms of these dancing women are rendered with his iconic, bold outlines and instantly recognisable palette. Husain's use of bright radiant hues gives these Maqbool Fida Husain, Ritual, 1968. powerful figures an emotive energy and transformative power. Christie's New York, 16 September 2008, lot 150, sold for $920,500

112 404 CHU TEH²CHUN ±ZHU DEQUN, FRANCEÍCHINA, 1920²2014³ ±法國Í中國，1920²2014³

Forces Vives (Powerful Forces) 大的

signed in Chinese, signed and dated 'CHU TEH-CHUN 03.' (lower 畫 right); signed in Chinese, signed, titled and dated '"FORCES VIVES" 2003年作 CHU TEH-CHUN 2003.' (on the reverse) oil on canvas ：CHU TEH-CHUN 03. (右)； 100 x 81 cm. (39 ⅜ x 31 ⅞ in.) "FORCES VIVES" CHU TEH-CHUN 2003. (畫) Painted in 2003

HK$2,800,0003,800,000 US$360,000490,000

PROVENANCE 來源 Galerie Patrice Trigano, Paris, France 法國巴畫廊 Acquired from the above by the previous owner 前藏者得自上來源 Anon. sale, Christie's Paris, 5 June 2013, Lot 108 2013年11月24日士得巴品108 Private Collection, Asia (acquired from the above by the present owner) 洲人收藏 (藏家自上) The authenticity of the artwork has been conﬁrmed by Fondation Chu Teh- 此作品經日金會 Chun, Geneva. 2004年2月至3月「」畫廊巴法國 EXHIBITED

Paris, Patrice Trigano Gallery, Chu Teh-Chun, February-March 2004 2004年《作》圖畫廊 LITERATURE 巴法國圖版，7圖，無) Galerie Patrice Trigano, Chu Teh-Chun Peintures récentes (exh. cat.), Paris, France, 2004 (illustrated, plate 7, unpaged).

德群的作品是能到現中的角色的本，精局的化。不是劃間的，還是與之對色起觀者的情感，觀者入超自然境比，都將方與中國傳水畫。強大的中，色與色的對，描繪之無。德群的作品比，出的與理情感，領觀為其的照，那動的法、者感受德群作畫時的情感，一同的跳躍，和有的色都呈現出大自然風間的。術家的情感。與手合為一體，把此畫也流出其的。背景的一，德群讓觀者用於的色與前景中細的、、成間。他在法國的經歷與其根的，有生的不僅帶動節川流，更傳水功他起於自己的與中國法一，德群乎在，，表達自己內感。而繪畫。的法顯其由內而發強大的品404是其2003 的方，對的自，藏年的作，德群的後期作品用色更為了無感與自由精神。多元，見他對色與的。畫幅中央的色與的湛黑與色成強對比，同的大。而的色是構圖的源，照個空間，。此對比色的用人起法的作品，和的

Frantisek Kupka, Disks of Newton, oil on canvas, painted in 1912 Philadelphia Museum of Art, Philadelphia, PA, US 庫1871-1957 畫布 1912年作國術物

114 Rembrandt van Rijn, Stormy Landscape, painted in 1640, oil on panel, Herzog Anton Lot 404 Detail (局) Northern Song, Tsai Hsiang (1012-1067), Letter (Mr. T"ao), National Palace Museum, Taipei, Taiwan Lot 406 Detail (局) Ulrich-Museum, Brunswick, Germany 1012-1067生國故宮物布因暴風雨下的風景1640年作畫板德國布安爾公術

Chu Teh Chun's works capture the constant psychological effect, guiding viewers connect the lightning, the enormous power of nature. blue in different tones, ranging from darkest blocks of blues are more abstract in Chu Teh- realism, traditional Chinese painters aim at variation of the reality. From the combating with Chu's passionate spirit, and confront the While Chu uses non-figurative blocks of midnight blue, to lighter sky blue, Chu creates Chun's work, the baby blue and dark sapphire recording the feeling, the invisible aura and of brushstrokes, the contrasting of light and rhythmic turbulence of the nature. colour to generate a similar pungent moment, a harmonious, poetic space for us to appreciate interplays with each other decorated by the essence of nature. From Wang Ximeng's work, shadow, Chu combines western media with The power in Force Vives is also illustrated urging viewers to surrender to the power his his deep planted Chinese philosophy that white dots and light yellow in the middle of as well as more contemporary Zhang Daqian's the Chinese traditional landscape painting, through the brushworks. The splashing painting, to embrace his passion embodied continuously expressed in his works. the painting. The rhythmic melody composed ink work, the overlapping of brushworks, the illustrates the endless continuity of the colours in the background interplays by the wealth of colour. Blue has been frequently used in Chinese by the dancing brushworks forms a delightful interaction between different shades of colours universe. Defining his work as reflections of with the detailed dots, lines and blocks While the manipulation of colour and paintings. Since Tang Dynasty, the color blue feeling. The seemingly carefree brushworks are not only creates an atmospheric perspective his soul, the gestural brushwork works, the in the foreground. The dynamic lines not light reflects a Western tradition, No. 419 had been extracted from different types of in fact meticulously planned, mimicking the that is unique in Chinese paintings, but also alternation between dense and translucent only generate a melodic flow, but more also expresses the inerasable influence of minerals and used as decorative elements composition of traditional Chinese painting. generates a fluid scenery, allowing viewers colour, as well as the rhythmic colour choices importantly, connects with the tradition of Chinese culture. The complex variation of in mostly monochromatic ink paintings. The Different from western religion and traditional to wonder, to unite with nature. Chu Teh- all faithfully present Chu Teh Chun's true Chinese calligraphy. It is almost as if Chu brushstrokes reflects the delicate techniques use of blue had reached an outstanding philosophy, Chinese philosophy has a unique Chun spent his artistic life in creating a emotions. Chu masterly connects his mind is writing, rather than painting. The curvy used in Chinese paintings. In Ma Yuan's level during Song dynasty. Wang Ximeng's non-binary world view. Daoism believes harmonious juxtaposition between Western and hands, illustrating the transient moments strokes visualize Chu's deep planted oriental famous work Singing and Dancing . The A Thoughsand Li of Rivers and Mountains that human and nature are two inseparable oil paint and Chinese painting techniques, that stimulate viewers to wonder in the ever- spirit. The masterful control over brush steep mountains in Ma's painting are similar illustrates how the artist brilliantly varies the components which significantly influence brings the implicit abstract nature of Chinese changing universe in his eyes. His experience expressively convey his endless inspiration to Chu's use of brown vertical brushworks tones of blue to create a lively scenery. Blue people to define the unity between human painting to the foreground. The contrasting yet in France and the deep planted influence and liberal spirit. in the background of No. 419. The detailed is no longer a decorative colour to fill the gap, and nature as a goal of spiritual fulfillment. harmonious visual effect attracts international from Chinese traditional painting enable Chu depiction of pine trees is comparable to the but rather an essential element to generate Consequentially, Chinese landscape paintings attention and leaves a heavy mark in Chinese NO. 419 to develop his own visual language to express meticulous and bright colour blocks in the not only depth, but more a vigorous, energetic often go beyond capturing the form of nature, and world contemporary art history. his inner passion. No. 419 (Lot 405) presents both the theatrical middle of Chu's work. feeling to the depiction of nature. It is almost and function as entertaining, poetic pathways use of colour influenced by Baroque works FORCE VIVES POWERFUL FORCES Created in 1971, No. 419 records the as if the viewers could hear the flowing to link with nature. Chinese painting is of art and the dynamism of brushworks significant moment when Chu Teh-chun streams, feel the ever-growing power of therefore compatible with abstract art in its Force Vives (Powerful Forces) (Lot 404) is from Chinese paintings and calligraphy. took a further step to connect Western nature through the masterly use of colour. The essence. Instead of reaching for picturesque a powerful piece created in 2003. The use This dynamic space Chu creates embodied and Eastern visual languages. On one of colour during his later period was more a masterful mingle of Western and Chinese hand, Chu captures the texture of Western diverse, representing Chu's masterly control traditional paintings. over colour and light. The strong contrast oil painting, depicting light through the A visit at the 300-year retrospective between the bright yellow in the middle and manipulation of colour. On the other hand, he exhibition of Rembrandt at the Rijksmuseum the darker black and blue in the surrounding, deeply understands the fluidity of Chinese in Amsterdam in 1969 struck Chu Teh- depicts a powerful explosion. The luminous paintings. Chu puts emphasis on direction Chun with a new source of inspiration on yellow at the bottom functions as a light and thickness of brushstrokes, generating a his quest into the abstract language. It is source, lighting up and activating the whole rhythmic dynamism for viewer's imagination. not hard to recognize Baroque use of light in space. This use of contrast colour recalls the Chu's paintings. In No. 419, the bright yellow, VIE CACHÉE piece by Frantisek Kupka. Considering the burning orange along with hints of white and Blue is one of Chu Teh-Chun's favourite essential value of colour and drawing upon baby blue create a luminous diagonal in the colours. He once defines the jewelry-like scientific research and spiritual believes, painting, forming a strong contrast against blue as a part of his spiritual palette. Vie Kupka used properly composed colour to the dark brown background. This dramatic Cachée (Hidden Life) (Lot 406) was created generate emotional and psychological effects use of light recalls Rembrandt's famous in early 1990s when Chu frequently applies that allow people to enter a transcendental painting Stormy Landscape . Rembrandt various types of blue to create rhythmic state. In Force Vives , the contrasting uses similar dark background to emphasize abstract paintings. Mastering the colour yellow and blue create a similar visual and Lot 405 Detail (局) Song Dynasty, Wang Ximeng, A Thousand Li of Rivers and Mountains, The Palace Museum, Beijing, China 圖中國京中國故宮物藏 116 405 CHU TEH²CHUN ±ZHU DEQUN, FRANCEÍCHINA, 1920²2014³ ±法國Í中國, 1920²2014³

No. 419 419

signed in Chinese; signed and dated 'CHU TEH-CHUN 71' (lower right); 畫 signed in Chinese; signed, dated and titled "CHU TEH-CHUN 1971 1971年作 No. 419" (on the reverse) oil on canvas ： CHU TEH-CHUN 71 (右) ；CHU TEH- 65 x 92 cm. (25 ⅝ x 36 ¼ in.) CHUN 1971 No. 419 (畫) Painted in 1971

HK$2,000,0003,000,000 US$260,000380,000

PROVENANCE 來源 Acquired directly from the artist by the previous owner 前藏者自藝術家本人 Private Collection, Luxembourg 人收藏 Anon. Sale, Christie's Hong Kong, 28 November 2010, Lot 1101 2010年11月28日士得 1101 Acquired from the above sale by the present owner 藏者自上 The authenticity of the artwork has been conﬁrmed by Fondation Chu Teh- 此作品經日金會 Chun, Geneva.

第419品405有，感受色帶來的情。第419中色術那有戲劇張的用色手法，也有中國畫與的用然不方傳，當中更多的法。這作品中的畫面構的空是藏了中國化之。其法精妙多，間滿動，中方傳繪畫精。是來自國畫的細技巧，也是傳德群於1969年在術物上喜用的角。構圖見於畫家馬觀了布三年，對他入術的歌圖，當中的與第419 領了大發。後其畫作中不見到背景的色向有之。而細風的用。在第419中，動人的則與德群畫中的色明的色、的色，還有一白色與。，構成的對角，與色背景成第419為1971年的作品，是德群一強對比。這種感的暗用讓人起結合方的要時期。他以方布的著名畫作暴風雨下的風景，該畫畫技法呈現感，色感，以的色背景出，顯大自入中國水之流，在的方向和然的巨大。德群則以的色間呈現有的動，發觀者之聯。出同的一，讓觀者沉於畫面的 Southern Song, Ma Yuan, Singing and Dancing, The Palace Museum, Beijing, China 馬歌圖中國京中國故宮物藏

118 406 CHU TEH CHUN ±ZHU DEQUN, FRANCEÍCHINA, 1920²2014³ ±法國Í中國，1920²2014³

Vie Cachée (Hidden Life) 藏的

signed in Chinese; signed and dated "CHU TEH-CHUN '92" 畫 (lower right); signed in Chinese; signed, titled and dated 1992年作 "CHU TEH-CHUN VIE CACHÉE 1992' (on the reverse) oil on canvas : CHU TEH-CHUN '92 (右) ; CHU 64.8 x 80.7 cm. (25 ½ x 31 ½ in.) TEH-CHUN VIE CACHÉE 1992 (畫) Painted in 1992

HK$1,200,0001,800,000 US$160,000230,000

PROVENANCE 來源 Private Collection, Asia 洲人收藏 The authenticity of the artwork has been conﬁrmed by Fondation 此作品經日金會 Chu Teh-Chun, Geneva. 2007年6月23日-7月10日「」上之美術東日本 EXHIBITED Tokyo, Japan, The Ueno Royal Museum, Solo Exhibition of Chu Teh-Chun, 23 June 2007 – 10 July 2007 2005年《印象經IX 》印象畫廊 (圖版，63) 2007年《大象無》上之美術 LITERATURE 有公東日本 (圖版，251) Impressions Art Gallery, Chu Teh-Chun, Taipei, Taiwan, 2005 (illustrated, p.63). The Ueno Royal Museum, Thin Chang Corporation, Solo Exhibition of Chu Teh-Chun, Tokyo, Japan, 2007 (illustrated, p.251).

色是德群所喜的色，他把石的作中國與方和傳不同，其觀其精神色。藏的生品406是二元的。家為，人和自然兩者不， 1990年的作品，當時德群經常以不同的色該人們天人合一為最高精神成就。因構出有的畫作。著不同子的此，中國水一不上的，而是在色，最的到的天空，都在德群以人的情畫與自然。在種程來的下成一和的空間，讓觀者以，中國水與術之本也有之處。傳作品中流的中國人。中國畫家不著於，而是著呈現中國畫中常用色。自起，人們始不同中感、不見的境之。的作品，到的物色，作為當時色水畫中的更的張大的潑作品，之、各種元。到了，畫家對色的用更一，子色的，不僅生中國水有的性的圖中見畫家不同子的角，更出幅的流感，讓觀者自由於畫色而巧妙成一幅生動的景。色不僅是面各景，與大自然合一。德群在其術生一空的性色，而是，為自然入方畫與中國水技法之結合，顯中國水與的要元。由此，觀者幾乎以內在的性。這個對比明卻和處的色到，以大自然的。德群在國際上起大，也成為中國以至作品中的色更為，與湛的石當術的要一。，畫幅中央以白色和。跳躍的出節章，。這起來自由的其是經術家細細，中國傳水之境精而來的。

Zhang Daqian, Deep Valley, painted in 1967, ink colour on paper 張大谷圖1967年作水設色本

120 PROPERTY FROM AN IMPORTANT ASIAN PRIVATE COLLECTION 洲重要人收藏

407 ZAO WOU²KI 無 ±ZHAO WUJI, FRANCEÍCHINA, 1920²2013³ ±法國Í中國，1920²2013³

05.04.63 05.04.63 signed in Chinese and signed 'ZAO' (lower right); signed 'ZAO WOU-Ki', 畫 dated and titled '5.4.63' and inscribed '50 x 46' (on the reverse) 1963 oil on canvas 年作 46 x 50 cm. (18 ⅛ x 19 ⅝ in.) ：無ZAO (右)；ZAO WOU-Ki 5.4.63 50 x 46 (畫) Painted in 1963

HK$5,000,0008,000,000 US$650,0001,000,000

PROVENANCE 來源 Collection of Morgan Knott, Dallas, Texas, USA, 1965 1965年美國拉根特收藏 Collection of Mrs. Walter Pharr, Dallas, Texas, USA 美國拉特法女士收藏 Gifted to the previous owner from the above collection 上收藏前藏者 Anon. sale, Christie's Hong Kong, 24 November 2012, Lot 1 2012年11月24日士得 1 Private Collection, Asia 洲人收藏 This work is referenced in the archive of the Fondation Zao Wou-Ki and will be included 此作品記在無金會之出版，將收於． in the artist's forthcoming catalogue raisonne prepared by Francoise Marquet and Yann 及．根正備的《無作品年》(由 Hendgen (Information provided by Fondation Zao Wou-Ki). 無金會 )

LITERATURE 1978年《無》．著． Hier Jean Leymarie, Zao Wou-Ki, Documentation by Françoise Marquet, Hier et Demain et Demain Editions 巴法國及 Ediciones Poligrafa 巴 Editions, Paris, France and Ediciones Polígrafa, Barcelona, Spain, 1978 (illustrated in (白圖版，310圖，286) black and white, plate 310, p. 286). 1979年《無》．著． Jean Leymarie, Zao Wou-Ki, Documentation by Françoise Marquet, Rizzoli International Rizzoli 約美國 (白圖版，310圖，286) Publications, New York, USA, 1979 (illustrated in black and white, plate 310, p. 286). 1986年《無》．著． Jean Leymarie, Zao Wou-Ki, Documentation by Françoise Marquet, Editions Cercle d’Art, Le Cercle d'Art 巴法國及 Ediciones Poligrafa 巴 Paris, France et Ediciones Polígrafa, Barcelone, Espagne, 1986 (illustrated in black and (圖版，357圖，329) white, plate 342, p. 326).

Joseph Mallord William Turner, A Tempest, circa. 1840-1845, National Museum of Wales, CardiÌ, Wales 德風暴1840-1845年作爾地爾國物術

122 ZAO WOU-KI 無

"I paint in broad strokes, sometimes with a The artist mainly relied on different strokes weightiness in space can also be seen in scraper even, like I am squeezing the canvas of black and white oil paints to develop layers Joseph Turner's A Tempest: ships at the centre with my life to let colours seep into it. Amidst in the centre of the scene, with clean lines of the storm are the primary subjects, and the the cacophony of colours and overlapping that are sometimes powerful and sometimes tension that follow from them extend to the crisscrossing strokes, I feel at home. Back delicate, and angles of attack that are waves and the sky, with the pressure easing off then, I had not experienced the difficulty of innumerable. Gazing towards the top centre of at the top and bottom, creating definite order presenting nothingness through painting; the frame, one notes the breaking waves that and structure on the canvas. This composition Southern Song Dynasty, Liang Kai, Lying in a Boat and William MacTaggart, The Storm, 1890, oil on canvas, National Gallery of Scotland, rather than silence, I veer towards fervour and are seemingly lifted by the tornado, transient with a tranquil top and bottom and an intense Playing the Flute by the Willow, Collection of The Palace Edinburgh, Scotland noise. My heart was set on triumphing over and fleeting, showing how the artist managed centre inherits the Multi-Point Perspective Museum, Beijing, China 風暴1890年作畫布愛國家畫 the canvas" – Excerpt from Zao Wou-Ki's Self to use oil paint to create the sense of unbound from Zao's work in the 1950s, and gives rise to 中國京故宮物藏 Portrait, p.138 serenity in Liang Kai's Lying in a Boat and the sweeping wide views of his 1970s creations, Yann Hendgen commented many of Zao's Playing the Flute by the Willow, using Western thus marking an important milestone in his 「大筆，有時用畫畫水面上的風，發，有化成前景、景，中風。 works from the 60s that "rather than describing media to achieve Eastern art's uniquely search for "space". ，要中去，在《歌圖》拔的。這種重有見於約夫． what's shown as a whirlwind, we can think expansive aesthetic effect. While the ivory background at the top and 的和重重的筆，《風》：風中心的為主要描對 of them as the author's search between the 05.04.63 is also notable for its treatment of the lower right of the canvas seems empty, 藝術家主要以、白的、、、自在，還有發覺畫白的高象，其所動畫面的浪 clashes between air masses – the masses are space, which at a glance gives one a sense nuanced colours are actually hidden within. ，畫面中心的種種筆，時，的和的對的過於天，上方的為，畫面重 sometimes dense, sometimes dispersed of "one river, two banks". The "one river, two Remarkably, the few white strokes that sit 、時的，筆角。征服成了裡日的心有。這種上中的 what comes through is the great tension that banks" style was invented by Dong Yuan, and atop the black paint at the centre of 05.04.63 。畫面中上方，們題，許多戰。」－自《無圖，上承無五十年代的， is hidden within the heart." 05.04.63 (Lot 407) usually feature a clean and clear composition brighten the scene and create clear progressive 被風的水，，見自畫》135 然為藝術家十年代以的廣 is an epitome of that, seemingly bringing to with flat ground or low hills and a handful layers, making the work's focus shine with 藝術家以出《圖》，為他「」的重要里 light Su Shi's grand sense of "boulders soaring of tall trees in the foreground, sometimes clarity. This can be compared with William ．根曾十年代許多的自由，以方的表了東方。 above the skies, deluge slapping at the shores, punctuated by a pavilion or hut; in the middle Mactaggart's brilliant organisation and use 作品「示的其是一風，的特藝術。 stirring a thousand heaps of snow". The distance one usually finds a broad expanse of contrast The Storm. In light of the above, 是作者在這種大之之中作品畫面右上方的白景雖 05.04.63 intensity within the painting starts with the of calm waters, and in the distance sit rolling one begins to appreciate Zao's ingenuous 《》的處理別特，的，這時，時，無，藏細膩變化。得的 olive green and charcoal black at the lower left mountains. Zao took that compositional idea arrangement of colour and space down to 之有「一」。「一 [ ] 表的是心中那在的大張是，《05.04.63》中心之上的 corner, transforming into the quick brushes from traditional Chinese landscape paintings, every last stroke and every last square inch; 」的圖方源於源，前景往往是平。」《05.04.63》品407 白筆，了作品的場，令畫面 and scrapes down centre, like a tempest and moved beyond Dong Yuan's "one river, two there is an end to these words, but not to their 細，高樹，有樓、清其中，重蘇「石，，．《風 spiralling up from the water's surface, getting banks" as seen in his Xiao Xiang Landscape message. 屋，中是一和平的水面，景驚，雪」的。畫》的、平。此一 ready to erupt, not unlike the powerful and by presenting a bare foreground and distant 是的坡、山，圖。藝面張由左的、，幻來，見無對畫上每一、每 steely brushstrokes in Ma Yuan's Singing and scene, but with a centre that is riled and 術家承繼了中國傳統山水的，化成畫面中的筆、，有一一的，有無。 Dancing. stormy. This arrangement of lightness and 了源《圖》的「一」，

124 dots, lines, and flat surfaces that make up ever titled his artworks as "painting relief" its image. The elegance of a scenic Mid- anymore, but this concept would be a RICHARD autumn night beneath a full moon is evoked recurring motif throughout his entire artistic through simple, purposeful brushstrokes. career. He began to replace aluminum, LIN As is annotated in our introduction to Zen organic glass and other similar materials master Trei Enji's Full Circle, circles in Zen with oil paint. Such experiment could be thought symbolizes nothingness, the basis seen in Painting April 1967. The smoothened of existence. The circle is one of the earliest layers of oil paint forming different sense of visual symbols Richard Lin employed in his depth on canvas. Taking a closer look, we oeuvre of work and certainly one of the most could perceive the warmth of colour at the significant; it was also highly influential to bottom, the falling brushstrokes from the top, later Hard Edge impressionist artworks. The as well as the dense white blocks layered circle in Moon Festivity is a full moon during on top, presenting Lin's precise painting a fit homesickness. It is a manifestation of style. The streak of orange painted onto the the artist's admiration of Taoist ideals the middle block becomes the centrepiece of abstract existence of all things, without end, the artwork, reflecting the importance that without shape or form. painting held for the artist. This is significant 1960 marked the first turning point in in that it shows he had truly absorbed Richard Lin's earlier work. His experience of concepts of sculpture art and combined it contemporary Western culture during his with painting techniques to create a unique architectural studies in the UK, along with abstract painting. As he grew more familiar with the workings of oil-paint sculpting, Lot 409 sensitivity to avant-garde artistic forms, spurred him to move towards a more precise colours returned to Lin's all-white canvases. Born in the only mansion in Taiwan, Richard and rational impressionist creation. He also This set of four screen prints May 1; May 2; Lin grew up in wealth, and received a developed the concept of "painting relief", in May 3, May 4 (Lot 410) contains bold colours Japanese primary education during the which different textures and blocks of colours that leap off the pure white, reflecting Japanese occupation. In 1949 he completed are staggered in layers on canvas to produce the maturity of the artist's techniques his secondary education at the Diocesan a piece of artwork that combines both and concepts. It reminds one of Kazimir School in Hong Kong, which significantly painting and sculpture. And yet the process Malevich's art, in which Malevic strips away influenced him to land his works in of "painting relief" is not simply "sculpting on all markers and signifiers of the material traditional Eastern culture. After studying canvas". It absorbs and transforms theories world, and radically reduce abstract art to abroad in the UK in 1952, he witnessed the Lot 408 Richard Lin at work in his studio. Photo credit: Richard Pare / Courtesy Jia Art Gallery of sculpture art to explore essential questions their simplest geometric. It shows that art 在作創作中 period of time in which Western artists grew regarding painting. Early painting reliefs is no longer a tool to be used but exists for interest in Zen and Taoist thinking. Thus it were constructed with a variety of media and its own sake; and Richard Lin expresses his isn't difficult to understand the connection oil paints of certain thickness. The texture, Eastern cultural views on these philosophical between Lin's earlier works and Zen thought, shape and shades of white vary in relation concepts through contemporary art, revealing and his attempts to observe the universe to the alternation of distance between the common ground he had found between and his own mind by reflecting them in viewers and the painting, creating multiple his own cultural background and the Western 生於全一宮保第的家境， 1960年是期創作歷程中的一個色，由上至下，而於白 simple symbols. Moon Festivity (Lot 409), dimensions on the canvas that are both environment he was influenced by. 在日治時期受日本，1949年，英國期間所的對方現明色上的色更為，層層有， created in the 1950s, is a confluence of the visually and physically tangible. 就完成高中，方傳化的的體驗，以對術的感，他更為細。在中間的色下方上一 elements that were important to him during By the end of the 1960s, Richard Lin hardly 成為了創作的根。1952年英國向更為精理性的創作，入發了色更是成為作品之，見術家對繪 this period of time. Through impressionistic 後，許多術家於家繪畫浮的，所繪畫浮是在畫性的。這一義上，他的的，不理期作品與畫布表面以不同和色出多個向的觀，入繪畫的手法，創出了全的，試圖觀照物和自，以的層次，是繪畫與結合的物，畫。著對繪畫浮的用發，行括和表達。的在畫布上浮，而是化了色到了的白色畫面中，這一創作於1950年的中(品 409) 的，將其用於繪畫的本題。期的的May 1; May 2; May 3; &May 4(品是了其這一時期的要，以方繪畫浮作品以多種與成一 410)中各不同的潑色跳躍於的白色的、、面構成畫面，滿表現的幾的同構成，畫面中不同的、和之上，出術家在技巧和觀上的成。出了中節月之下的景。不一的白色，由於觀的不同，在畫人聯起馬奇在作品中將對物體事同師在一圖中對的布表面構成了多的空間，層是物的示和描，將術發揮到化幾，在中表無，是的，而感的。圖的程，表明了繪畫作品不是現對的創作生而，是其最用到1960年後期，少以繪畫浮表現的而是在；而則的之一，要性不，對其後期名作品，這一始終於他的術是以現術的表現方化中的觀的作品。中中的生。他逐漸始以和有等，顯然此時的他在自身化背景以方是時的一月，是術家中對家其他，一九年月繪畫(品境中到了其中的之處。崇的表現，天地物為的在，無 408)中完全用的平與，在畫布始無終、無無。表面出不同的凸色，細觀作品， Kazimir Malevich, Dynamic Suprematism, painted Lot 410 Detail (局) Trei Enji (1721–1792), Enso (Zen Circle), ink on paper circa. 1915, oil on canvas, Collection of Tate (1721–1792) 一圖水本 Modern, UK 爾馬奇動的至上主義1915年作畫布英國現術藏

126 408 RICHARD LIN ±LIN SHOW²YU, UKÍTAIWAN, 1933²2011³ ±英國Í，1933²2011³

Painting April 1967 一年四月畫

oil on canvas 畫 78.6 x 61.6 cm. (31 x 24 ¼ in.) 1967年作 Painted in 1967

HK$800,0001,200,000 US$110,000150,000

PROVENANCE 來源 Marlborough Gallery, London, UK 英國 Marlborough畫廊 Private Collection, USA 美國人收藏

EXHIBITED 1968年2月「四藝術家：Gordon House, Colin New York, USA, Marlborough-Gerson Gallery Inc, Four London Artist: Lanceley, Richard Lin, Joe Tilson」 Marlborough- Gordon House, Colin Lanceley, Richard Lin, Joe Tilson, February 1968. Gerson畫廊約美國

LITERATURE Marlborough-Gerson Gallery Inc, Exhibition Catalogue, Four London 1968年《四藝術家：Gordon House, Colin Artist: Gordon House, Colin Lanceley, Richard Lin, Joe Tilson, New York, Lanceley, Richard Lin, Joe Tilson》Marlborough- USA, 1968 (illustrated in black and white, plate 30). Gerson畫廊約美國(白圖版，30圖)

128 410 409 RICHARD LIN RICHARD LIN ±LIN SHOW²YU, UKÍTAIWAN, 1933²2011³ ±英國，1933²2011³ ±LIN SHOW²YU, UKÍTAIWAN, 1933²2011³ ±英國 Í ，1933²2011³ May 1; May 2; May 3; & May 4 五月一日；五月二日；五月三日；及五月四日 Moon Festivity 中 signed 'Lin' and numbered '52/70' (lower edge); signed 'Lin' and ink on paper 版畫本 (四) 水本 numbered '30/70' (lower edge); signed 'Lin' and numbered '33/70' 50 x 30 cm. (19 ⅝ x 11 ¾ in.) 1971年作 1950 (lower edge); & signed 'Lin' and numbered '25/70' (lower edge) Painted circa.1950s 約年代作 four screenprints on paper and acetate 版：52/70; 30/70; 33/70; &25/70 one seal of the artist 藝術家印一 each 50.8 x 50.8 cm (20 x 20 in.); (4) ：Lin(每幅方) Executed in 1971 HK$100,000150,000 edition 52/70; 30/70; 33/70; &25/70 US$13,00019,000 HK$100,000150,000 來源 PROVENANCE 英國特畫廊 US$13,00019,000 Leicester Galleries, London, UK 藝術家 Estate of the artist PROVENANCE 來源 Private Collection, Asia 洲人收藏

130 TOSHIMITSU IMAI 井

Toshimitsu Imaï is a truly unique artist's almost translucent layers of colors: blue, black 滿是一個一無二的術家，他的作品在 whose work has been transformative not and white were mixed in with brilliant greens, 他的術生之中以在國際戰後術中都 only in the course of his career, but also yellow, pink and red in primary hues. Such a 有後的大。時(品 within the realm of international Post-War art monumental size allows the artist to express 412)一作成畫於1956年，當時術家全身 history. Modern Times (Lot 412) was painted himself with bold, energetic spontaneous 入由法國人爾爾領軍的無 in 1956 when the artist had fully embraced movements directed by his inner strength. 術動，這是術發國際的 the Art Informel movement, led by French His references to Japanese technique also 要時期。為生的義是 art critic Michel Tapié, a critical period for extended to medium and visual vocabulary 術理。這是在1952年到之 Imaï's artistic development and international which was influenced by the traditional 後，一的術精所在。他年到無 recognition. Japanese gardens, especially of the dry type 術動，是他對術的義角色的理 "I considered the true scope of my existence (karei sansui). The artist dripped lacquer on 之。爾的這個動，為 that of approaching the truth through art", the large canvas directly without drawing or 了一個打術傳的，他以頭 such has been the essence of Imaï's art since palette; incorporates enamel, sand, metal foil 始，發現的表現方，而不於前人所 his arrival in Paris in 1952. His early exposure into thick oil; threw paint onto the canvas 的。 to the Art Informel scene represents a turning with knife or brushes in bright, thick textures 時是這個時期的一個，此是 point in the artist's vision of the meaning as a metaphor of tracing his own action. 最把表現完全抹，以讓於的色 and role of art. The movement introduced The adherence to Art Informel movement had 與的表現。此作中明的與幾 by Tapié gave Imaï the opportunity to freely an immediate effect on Imaï's recognition as an 明的，了一個而的對比 break the boundaries imposed by artistic artist. Modern Times series was particularly well 、黑、白三色，與的、、粉等 conventions, to start again from the ground received, resulting the work (Lot 412) crossing 色合。畫作之大，為畫家了一個 up and develop new modes of expression the Atlantic to be exhibited at Signa Gallery in 以表現內在的動。他對日本技 without considering pre-established rules. New York in 1958. With its sinuous composition 的，以中見， Modern Times is emblematic of this period, guiding the viewer into dark inner corners of 他受傳日，是水的 as it is part of the first series where formal the painting's soul, Modern Times is a powerful 。術家在不經描畫色之下， figurative references completely disappear in work spearheading incoming waves of new art 在巨幅的畫布上，把把、 favour of pure and more colourful abstraction. forms making their way in a globalised post- 合到之中，以畫刀畫把到 This painting provides a beautiful and poetic war era, from in Japan with Gutai art movement, 畫布之上，以出地了他動作的 contrast between thick bright impastos and through Europe and to the United States. 明的。他對無術動的，他術的。時在1958年大，在的Signa畫出。其流的構圖，觀者到畫作所在的暗黑角。時這幅巨作，了在日本面向球的戰後時期中一 411 的術潮，由日本國內的體術動，歷經，國。 ATSUKO TANAKA 田中 ±JAPAN, 1932²2005³ ±日本，1932²2005³

Untitled 無題

signed 'Atsuko Tanaka' and dated '1971 Mar.' (on the reverse) 成樹畫 vinyl paint on canvas 1971年作 27.5 x 22 cm. (10 ⅞ x 8 ⅝ in.) Painted in 1971 ：1971 Mar. Atsuko Tanaka (畫)

HK$150,000250,000 US$20,00032,000

PROVENANCE 來源 Garden at Saihji temple. Imai working in his studio, 1963. Private Collection, Europe 歐洲人收藏芳之水 1963年，在畫創作 Collection of Mr. Panu Assaranurak, Asia 洲 Panu Assaranurak 收藏

132 412

TOSHIMITSU IMAI 井 ±JAPAN, 1928²2002³ ±日本, 1928²2002³

Modern Times 時代 signed 'IMAI' (on the reverse) 樹畫 oil, sand and resin on canvas 1956 200 x 300 cm. (78 ¾ x 118 ⅛ in.) 年作 Painted in 1956 : IMAI (畫)

HK$1,200,0002,200,000 US$160,000280,000

PROVENANCE 來源 Signa Gallery, New York, USA 美國約 Signa畫廊 Private Collection, USA 美國人收藏

EXHIBITED 1958年「國精」Signa畫廊約美國 New York, USA, Signa Gallery, An International Selection, 1958

LITERATURE 1990年《東：Signa畫廊，1957- Helen A. Harrison, East Hampton Center for Contemporary Art, East Hampton 1960》Helen A. Harrison著東代藝術中心 Avant-Garde: A Salute to the Signa Gallery, 1957-1960, East Hampton, 東約美國(白圖()，42) New York, 1990 (installation image (partial) in black and white, p.42) 1998年《IMAÏ》Electa出版米大 (白圖 Electa, IMAÏ, Milan, Italy, 1998 (illustrated in black and white, p. 67) 版，67)

"Ðt was like a storm on a lake, the white of an eye floating in a jungle-like chaos, a wide mouth slashed into the sea, or some monstrous bird flying ominously. Casting himself at the painting through his own doubts, primitive passions were aroused, unknown discoveries emerged, and at the point of a fulfilment the work was completed."

Ichiro Hariu – The Clarity of Orient – Toshimitsu Imaï, his art and way of life

這就上的暴風、白在的之中浮動、海中的一張大，是一些鳥。他把自己入於作品之中內著，始的情被，知的發現浮現，就在滿的一作品以完成。

生一郎方滿的術與生方

In 1958, Modern Times was exhibited in "An International Selection" at Signa Gallery, New York. 1958年，時在Signa畫出。

134 RHEE SEUNDJA 李

Demonstrating the deep subtleties of colour, abstract to "Woman and Earth", reminding us 戰之，由於人的經，時是三兒 Rhee Seundja's early works characterize her Henri-Edmond Cross, "Landscape, the Little 的李家，前往法國，在 as a unique and intense artist in search of Maresque Mountains". While the former is 了許多洲學的大藝術學院(Académie absolute truth. Christie's is delighted to present a brilliant display of colour balance through de la Grande Chaumière)學藝。此前受過正 masterpieces of Rhee Seundja's early career thick layering of paint on the canvas, the latter 藝術的她以象風景作的。 from the collection of a French gentleman introduces geometric shapes such as circles, 在成為·(Henri Goetz)的理之，李 whose sense of duty to promote the artist's semi-circles and squares and lines, unlimited 的作象，此象成了她藝術 work beyond French borders. The current in their borders and symbolizing harmony 中的主要。 selection brings highly qualitative and fresh between earth and woman. 李對藝術表充滿了興， works to the market, emblematic of the artist's Rhee's obsession with her connection to nature 此成為了一的藝術家，其以 early series of "Abstraction" and "Woman and is especially enhanced in her "Woman and 畫和版畫見。她在得場，是 Earth". Earth" series, when the artist felt a need to A difficult personal life in the aftermath of the express her womanhood, and more particularly 於新的覺表，在其的各重要 Korean war led Rhee Seundja, mother of three her motherhood. Au Fond de la Nuit (Lot 414) ，了其人和經相對的 sons, to leave her country and uproot herself superimposes layers of short strokes of deep 作品。 to France, where she started attending classes blue and orange forming a pathway revolving 《無題》(品 413)《無題》(品 at the Académie de la Grande Chaumière, around a square. Here, the artist is building up 415)是李「象」中的作品。 artistic hub for Asian diaspora students among a world in which the viewer is invited to travel 圖作品均完美了變的前者 others. Without previously acquired formal inside with her, accompanying the artist in 象化至象，者由象變成「女人大 painting training, Rhee started with painting her creation to make her feel as "a woman, a 地」，令人聯．． figurative landscapes. Her assistantship with woman as a mother, and a mother as the earth" 《山》。前者過厚重的幻變出 Henri Goetz gradually led her to abstraction, a (Rhee Seundja). 的，者是用了、、方 language she continued to develop for the rest Untitled (1958), Untitled (1960) and Au Fond de 各，的，此 of her career. la Nuit are powerful anchor points to introduce 大地女人之的和。 Rhee's curiosity and appetite for artistic Rhee Seundja's vast body of works, each exploration has made her a talented artist and emblematic of important periods of her early 李著於自自然的聯，這在「女人 colourist across different media, in particular career which propelled her to international 大地」中為出。過作品，她了其 oil painting and woodblock printing. Less recognition. 作為女性的特，其是身為人的一面。作品《在深裡》(品 414)，的深 interested in commercial recognition than in 李早期的作品富深的描，用獨特 investigating new visual expression, her career 筆成一著方的，的畫手法，充了她對對理的 has developed into separate identifiable series 此，李觀眾她一入她造的天地之。士得在是三李 corresponding to different periods of her life 中，著她一受「身為一女人、一成為的早期作，這作品由一法國藏家 and research. 的女人，以及化身為大地的」的情。，這種將經藝術出法國世人的 Untitled (Lot 413) and Untitled (Lot 415) were ，在。作品自李早期「《無題》(1958)、《無題》(1960)《在深裡》 both painted as part of her "Abstraction" series. 象」「女人大地」經，此作為李作早期的重要作品，每一幅 Differing in composition, both works are a 相，令人期。別代表著藝術家早期的重要，為其日 perfect illustration of transition, the former 富的藝術了，她成為國目 from figurative to abstract and the latter from 的藝術大師。

Rhee Seundja, Spatial Structure, mosaic, 140 x 180cm, Bellevue School District, Henri-Edmond Cross, Landscape, the Little Maresque Mountains Nantes saint-Herblain, France. Image: Courtesy of Seundja Rhee Foundation 德雄李子空間結構馬 140 x 180公法國爾布貝爾

Rhee Seundja in her studio Image: Courtesy of Seundja Rhee Foundation 李子在其畫 136 PROPERTY FROM AN IMPORTANT EUROPEAN PRIVATE COLLECTION PROPERTY FROM AN IMPORTANT EUROPEAN PRIVATE COLLECTION 歐洲重要人收藏歐洲重要人收藏

413 414 RHEE SEUNDJA 李 RHEE SEUNDJA 李 ±KOREA, 1918²2009³ ±國，1918²2009³ ±KOREA, 1918²2009³ ±國，1918²2009³

Untitled 無題 Au Fond de la Nuit 在深裡 signed and dated 'S. RHEE. 58' (lower right); inscribed signed and dated 'SEUNDJA RHEE 63' (lower left); inscribed, titled, and 畫畫 '5830P19' (on the reverse) signed '196310F214 "AU FOND DE LA NUIT"SEUNDJA RHEE PARIS' (on 1958 1963年作 oil on canvas 年作 the reverse) 65 x 91.5 cm. (25 ⅝ x 36 in.) : S. RHEE. 58 (右) ；5830P19 (畫) oil on canvas : SEUNDJA RHEE 63 (左) ；196310F214 "AU Painted in 1958 46 x 54.5 cm. (18 ⅛ x 21 ¼ in.) FOND DE LA NUIT"SEUNDJA RHEE PARIS (畫) Painted in 1963 HK$400,000600,000 HK$400,000600,000 US$52,00077,000 US$52,00077,000 PROVENANCE 來源 Private Collection, France (acquired directly from the artist by the 法國人收藏 (藏者自藝術家) PROVENANCE 來源 present owner) Private Collection, France (acquired directly from the artist by the present owner) 法國人收藏 (藏者自藝術家)

138 PROPERTY FROM AN IMPORTANT EUROPEAN PRIVATE COLLECTION 歐洲重要人收藏 PANG JIUN 均

Pang Jiun was born in 1936 to a family to a traditional Chinese ink wash painting, the foreground adds another sense of whimsy of artists in Shanghai. Under his parents' making the distant peaks seem fleeting and to the piece. As he creates a sense of space influence, he attended the China Central ephemeral. While at first glance the work in the piece, Pang also added to the poetry of Academy of Fine Arts, where he developed a may seem uncomplicated, each minute detail the scene, giving viewers a strong sense of robust understanding of Chinese artistic styles such as the far off fisherman and his boat has presence, feeling the gusts of sea breeze and as well as his own take on the idea of "painting been carefully considered, and executed with the warm sunshine on the skin. in poetry, poetry in paint". Afterwards he calligraphic brushstrokes to bring them to life. In addition to natural landscapes, Pang Jiun studied Western oil painting techniques, that Such exquisite artistry serve to make the work also painted many architectural scenes in oil he finally, in his own words, "borrowed from more and more intriguing with each additional paint. Romeo & Juliette's Balcony (Lot 418) impressionist and fauvist techniques but broke view. further showcases his deep understanding of from their theories; imparting instead the Pang Jiun's recent oil paintings feature ever- the relationship between colours, brushstrokes, Chinese style of freehand painting to create a bolder use of colours, and brushstrokes that and space. Using striking colours to highlight personal kind of oil painting." are more unencumbered than ever before. the vigorous bushes, lively attic, the colours Pang Jiun's paintings often featured China's In The Gulangyu, Xiamen (Lot 416), Pang layer on top of each other and stand testament natural landscapes, and focused more uses vibrant oil paints to foreground the to Pang's confidence in his oil painting on spontaneous expression than realistic expressiveness and tangibility of oil painting, techniques. The fine and precise strokes representations to convey his deep passion while also using the synergy among points, also reveal a hint of influence from Chinese for China's terrains. The Best Under Heaven lines, and planes to deftly fuse together the freehand paintings, filling the work with (Lot 417) is an example of the artist taking spirit of Chinese paintings. The saturated azure intrigue and tantalising details. advantage of a scene to express his feelings. blue of the sea in the foreground contrasts Pang deeply understands both Western art His emphasis of the foreground objects' with the pale blue in the distance, exemplifying and Chinese culture. He believes that while colours and the deemphasis of the distant the artist's nuanced grasp of colours. This work oil painting and Chinese art seem ill-matched scenery seem to invite viewers to imagine also makes use of the juxtaposition in colour or even contradictory on the surface, they are the countless mountain ridges and streams between the foreground and background, actually aligned and in tune spiritually. The beyond the canvas, leaving one wanting combining the sense of gradients in traditional sense of freeform and symbolic expression that for more. The mountains and rivers, which Chinese paintings through the intense colours modern Western masters pursue is exactly the he depicted primarily with grey and white, common in Western oil paintings. This use of essence of Chinese art. Over the past years, situate the viewers in a utopian heaven. The varying saturation and colours to capture light Pang consistently combined the way of ink touches of dark green and light brown also and shadows result in a spaciousness that is wash paintings with oil painting techniques; add to the liveliness and dynamism of the rich in stories and narratives. Furthermore, the while his works seem capricious and explosive, piece, contributing to the cosy vista while also clearly-defined layers in the composition is they carry on the poetic and nuanced ethos of doing the beauty of springtime justice. The also strongly reminiscent of traditional Chinese Eastern scholar-painters. use of grey also gives the piece layers similar paintings. The three coconut trees swaying in

415 RHEE SEUNDJA 李 ±KOREA, 1918²2009³ ±國，1918²2009³

Untitled 無題 signed and dated 'SEUNDJA RHEE 60' (lower right) 畫 oil on canvas 1960 81 x 60 cm. (31 ⅞ x 23 ⅝ in.) 年作 Painted in 1960 : SEUNDJA RHEE 60 (右)

HK$600,000800,000 US$77,000100,000

PROVENANCE 來源 Private Collection, France (acquired directly from the artist by the 法國人收藏 (藏者自藝術家) present owner)

Lot 417 Detail (局) Lot 416 Lot 418 Detail (局)

140 416 PANG JIUN 均 ±PANG JUN, CHINA, B. 1936³ ±中國，1936年生³

The Gulangyu, Xiamen 門浪 signed in Chinese and dated '2018' (lower right) 畫 oil on canvas 2018 150 x 150 cm. (59 x 59 in.) 年作 Painted in 2018 ：均均 2018 (右)

HK$900,0001,200,000 來源 US$120,000150,000 洲人收藏

PROVENANCE Private Collection, Asia

1936年生於上海術家。受其的描繪處船的一一畫都是經精，受那的海風，的。，於中央術，期間了對中用了法其生。此精湛的技巧了水主題，也創作許多生畫。國術風的與對中有畫，畫中有讓其作品更人。與的(品418)一的見。之後方畫的技巧，期的畫作品用色更大膽，更自體現了他對色、與空間的理。用色用印派，獸派之技巧，其觀，由。在浪(品416)中，用凸顯出生的，滿生息的入中國之理，自創畫技法。的凸顯出畫的表現性與體性，。色層層，現出自的畫技巧。的繪畫常以中國的水色為題，在多、、面的，巧地合了中而精的則表現出中國畫的風，於，表達了術家對中國川大地的情國畫的。處海面滿的色與處的幅作品妙生。。天下(品417)是體現了色對比，現出對色感的細。這幅為畫與中國術，不入，景情的一幅作品。他對物色的強化與作品中同用了前景景色的強對比。對，在精神上是一的，是以合的。物的化在觀者畫布以無盡的他把中國畫黑白灰的層次感與方畫的方術大師對性，性的是中河流，人盡。他以灰與白作為主打色色結合，用不同和的色，國化的精神。幾年以來，結合水而描繪的與面讓觀者身於源。出有故事性的空間感。作品的構圖更是層層之與之法。他的畫性，卻滿發和的更是作品動，體帶有明，滿了中國畫的。景中三風，載著方人畫細的情畫。的境卻不失春色的絕。灰色的用讓畫的子更是作品妙生。在空間感的水有層次，處無。同時了作品裡的，們身臨其境，感

Paul Gauguin, The Market Gardens of Vaugirard, painted in 1879 oil on canvas Smith College Museum of Art, Northampton, USA 保· 高更德場花 1879 畫布國術

142 417 418 PANG JIUN 均 PANG JIUN 均 ±PANG JUN, CHINA, B. 1936³ ±中國，1936年生³ ±PANG JUN, CHINA, B. 1936³ ±中國，1936年生³

The Best Under Heaven 天 Romeo & Juliette's Balcony 歐的 signed in Chinese, dated '2008' (lower right) signed in Chinese and dated '2008' (lower right) 畫畫 oil on canvas oil on canvas 2008 2008年作 112 x 145.5 cm. (44 ⅛ x 57 ¼ in.) 年作 60.5 x 72.5 cm. (23 ⅞ x 28 ½ in.) Painted in 2008 ：均均 2008 (右) Painted in 2008 ：均均 2008 (右)

HK$650,000850,000 HK$180,000280,000 US$84,000110,000 US$24,00036,000

PROVENANCE 來源 PROVENANCE 來源 Private Collection, Asia 洲人收藏 Private Collection, Asia 洲人收藏

144 XIAO RUSONG 松

Xiao Rusong's concise style and his firm, show Xiao Rusong exploring the nature 的畫風和的中，們不品出 steady brushworks give us broad hints of circles and spaces during his elliptical 沉內的性。這名畫家在日 about his calm and restrained personal period. 的下，一生，行一 character. Influenced by his Japanese Taiwan society in the 1970s felt the impact of 的術生。沒有年的班， education, this Taiwanese painter lived a several events (the attempted assassination 是因此，有了的空間只 rigorous and simple life, pursuing a lasting of President Chiang Ching-kuo; the breaking 於自己的繪畫天地。觀他的術生， artistic legacy like an ascetic monk. He of diplomatic relations with Japan) prompted 繪畫主體多，風化。人到風景 received no formal academic training in his people to reflect on the direction of the 物，期的幾時期到色時期的 early years, but precisely for that reason, native culture development. Xiao Rusong 與、時期到年 provided him the space to explore a world became actively involved in this nativist 的化時期，，不 of painting entirely his own. Xiao's painting push, working diligently at painting from 一種畫面表達自己。 changed throughout his career, both in style life, in particular "the uniqueness of the local 不地對色、等方面行 and choice of subjects. From portraits to land, people, and customs," determined to 入。與方大家、高更、 landscapes and still lives, from his earlier make a world-famous painting out of his 等的對，氏為自然中的體 geometric abstraction to his later "blue/ homeland's scenery. Sea Shore (Lot 419) and 感是的本構成的。景 green" and "glass and window" periods and Living on the Mountains (Lot 421) feature 品420的感來自他天來的，球 his "elliptical" period to his style of the 1980s, bright color and broad, open compositions. 體的群發他對型的。 featuring simplification and alteration of The influence of calligraphy gives Xiao's 為是完的、的，是和的滿感情 forms, Xiao Rusong always sought changes, brushwork calmness and strength, reflecting 的。景中的型，有張的構 and was always exploring new ways of the love and confidence for his native culture 圖了時期對其與空間的。 expressing himself through the space of his flowing in his blood. The large amounts 年的受到一事的擊 art. of ultramarine blue and yellow-green Xiao 經國遇、中日等人們本化 Xiao Rusong tirelessly researched every employed in Night Scene also captures 的發方向。與其中， aspect of color theory and modeling of forms brilliantly the inseparable nature of darkness 生，以本有的風情為主，於 in painting. Through dialogues with great and light in such a scene. 把家景物成一幅名畫。海品 masters of the West (such as Cezanne, Xiao Rusong dedicated his life to creative 419與圖品421色明，構 Gaugin, and Picasso), he came to believe work and art education. His works received 圖。因受到法的，中沉 that nature's complex three-dimensionality high honours at the Taiwan Provincial Fine 有，體現了流在氏中對於本化的 is built up from simple, basic shapes. Night Arts Exhibition, Taiyang Fine Arts Exhibition, 自與愛。而景用的大的群、 Scene (Lot 420) was inspired by views of Chingyun Exhibition, and Provincial Art ，風景中明暗不的性。 bridges that he crossed every day, and it was Educators Exhibition; he was honored by 一生於術創作術，作品 the nearly spherical shapes of the willows receiving a waiver from the pre-selection 、、、全 that sparked his exploration into elliptical process in the Taiwan Provincial Fine Arts 高的，到的。他 shapes. Xiao believed that the circle, as 419 Exhibition. His mastery of oil painting 畫技法、水、幾於水的創 a form, is complete and full, and that the techniques, ink-wash lines, and geometrical 技法，他成為術上有要地 curve is gentle and full of emotion. The XIAO RUSONG 松 abstraction in the watercolour medium made 的術家。 sleek, rounded shapes in Night Scene, and him one of the most important figures in ±HSIAO JU²SUNG, TAIWAN, 1922²1992³ ±，1922²1992³ its tension-filled, collage-style composition, modern Taiwanese art history. Sea Shore 邊

signed '-J.S-' (lower right) 水本 watercolour on paper 53 x 72.5 cm. (20 ⅞ x 28 ½ in.) 約1982年作 Painted circa. 1982 ：-J.S- (右)

HK$260,000350,000 US$34,00045,000

PROVENANCE 來源 Private Collection, Asia 洲人收藏

EXHIBITED Hsinchu, Taiwan, Hsinchu County Culture Center, Ru Mu Song Feng: Xiao Rusong 1999年10月13日至11月21日「松風: 松紀」新 Memorial Exhibition, 13 October – 21 November 1999. 化中心新

LITERATURE Apollo Art Gallery, The Art of Hsiao Ju-Sung, Taipei, Taiwan, 1988 illustrated p.6. 1988年《松畫》畫廊圖版，6 1999年《松風: 松紀畫》新化中心新 Xiao Rusong sketching from nature during Paul Cezanne, The Gulf of Marseilles Seen from L"Estaque, painted in 1855 Hsinchu County Culture Center, Ru Mu Song Feng: Xiao Rusong (圖版，124) students' military training oil on canvas Metropolitan Museum of Art, New York, United States Memorial Picture Series, Taiwan, Hsinchu, 1999 (illustrated, p.124). 在生軍動中也不生保的馬 1855年作畫布國大都術物 Artist Co. Ltd., Taiwan Fine Arts Series24: Hsiao Ju-Sun, Taipei, Taiwan, 2004 2004年《美術24 松》藝術家出版 (illustrated, p.177). (圖版，177) 146 421 XIAO RUSONG 松 420 ±HSIAO JU²SUNG, TAIWAN, 1922²1992³ ±，1922²1992³ Living on the Mountains 山圖 XIAO RUSONG 松 signed 'JS' (lower right) 水本 ±HSIAO JU²SUNG, TAIWAN, 1922²1992³ ±，1922²1992³ watercolour on paper 1980 46.3 x 73.2 cm. (18 ¼ x 28 ⅞ in.) 約年作 Night Scene 景 Painted circa. 1980 ：JS(右) signed 'JS' (lower right) 水本 watercolour on paper HK$180,000260,000 約1975年作 72 x 53 cm. (28 ⅜ x 20 ⅞ in.) US$24,00033,000 Painted circa. 1975 ：JS (右)

PROVENANCE HK$420,000550,000 來源 East Gallery, Taipei, Taiwan 東之畫廊 US$54,00070,000 Acquired from the above by the present owner 藏者自上畫廊

PROVENANCE 來源 EXHIBITED Private Collection, Asia 洲人收藏 1999年10月13日至11月21日「松風: 松紀」 Hsinchu, Taiwan, Hsinchu County Culture Center, Ru Mu 新化中心新 Song Feng: Xiao Rusong Memorial Exhibition, 13 October – 21 EXHIBITED 1999年10月13日至11月21日「松風: 松紀」 November 1999. Hsinchu, Taiwan, Hsinchu County Culture Center, Ru Mu Song Feng: 新化中心新 1999年《松風: 松紀畫》新化中心 Xiao Rusong Memorial Exhibition, 13 October – 21 November 1999. LITERATURE 新 (圖版，104-105) Hsinchu County Culture Center, Ru Mu Song Feng: Xiao Rusong LITERATURE 2004年《美術24 松》藝術家出版 1999年《松風: 松紀畫》新化中心 Memorial Picture Series, Taiwan, Hsinchu, 1999 (illustrated, pp. Hsinchu County Culture Center, Ru Mu Song Feng: Xiao Rusong (圖版，138-139) 新 (圖版，90) 104-105). Memorial Picture Series, Taiwan, Hsinchu, 1999 (illustrated, p. 90). 2004年《美術24 松》藝術家出版 Artist Co. Ltd., Taiwan Fine Arts Series24: Hsiao Ju-Sun, Taipei, Taiwan, Artist Co., Taiwan Fine Arts Series 24- Hsiao Ju-Sun, Taipei, (圖版，134) 2004 (illustrated, p.134). Taiwan, 2004 (illustrated, pp. 138-139).

148 PROPERTY FROM AN IMPORTANT ASIAN PRIVATE COLLECTION 洲重要人收藏

422 RAN IN²TING ±LAN YINDING, CHINA, 1903²1979³ ±中國，1903²1979³

Terraced Field 田天 signed in Chinese, signed, dated and inscribed 'RAN IN-TING FORMOSA 水本 2.1967' (lower right) 1967 watercolour on paper 年作 58 x 78.5 cm (22 ⅞ x 30 ⅞ in.) ： RAN IN-TING FORMOSA 2.1967 (右) Painted in 1967 藝術家印一 one seal of the artist

HK$500,000700,000 US$65,00090,000

PROVENANCE 來源 Private Collection, Asia 洲人收藏

Ran In-Ting was born in Luotong, Yilan, in and wetness of the canvas, and in doing so painting's spectacular aesthetics, conveying 1903. He apprenticed himself to Japanese formed his own unique artistic style. Terraced his sensitivity to nature and a love for his painter Kinochiro Ishikawa at the age of Field (Lot 422), painted in 1967, marvellously homeland that never loses its focus on the 21, studying British watercolour painting, conveys the sharply-honed watercolour people who live there. but he was able to remove himself from the techniques of Ran's later works. 於1903 年出生於，二一時 confines of Western watercolour-staining In Terraced Field , Ran In-Ting utilizes 日本水畫家石川一郎為師，的是英 conventions. Ran combined the Chinese ink transparent and translucent watercolour 國的明水畫，他能方水的局 painting technique of "robbing" in his work to create the effects of soft dawn light and ，在創作中入了水技巧中的擦，畫面 to create graduations between the dryness the mist that shrouds the early morning. 在之間呈現更為細的化，成他個人 The lavender sky and pale blue 的繪畫風，而創作於1967年的天 miasma glows within each paddy (品422)則精地了氏後期火 field, like spread of watercolour 的水創作技法。 paint dipped in water, to create 在天一作裡，以明和半明 intoxicating reflections. Reeds 水了、的時，其 sketched in the foreground, 時滿天、粉的朝照在一上， center and the background 就色在水裡而化的，成一 swaying with the breeze generate 人的水。畫面前、中、後景則以 a scenery full of life. With simple 子，風生姿，滿動感。氏 brushstrokes, Ran blots out 以的出行的和， farmers and cattle either standing 了顯人物與大自然景色的比，呈現 or picking rice. Apart from 的，表達了他以人為主的情和對大 drawing attention to the contrast 地的感和故的。 between humans and the natural landscape, it also emphasises the

Ran In-Ting working in his studio. 作畫情

150 stripping selected fibers out of the paper, and ink or pigment into water, letting it disperse water-rubbing techniques, which have made along the water's surface, then allowing his LIU invaluable contributions to the continued paper to contact and absorb the inks, after development of the Chinese ink tradition. which he proceeded with other treatments KUO-SUNG In the 1960s, having returned to the ink of the picture surface. Unlike traditional 國松 medium, Liu became obsessed with exploring Chinese painting, the accidental effects of materials in order to discover new visual the water-rubbing technique mean that the effects. By chance, he noticed that the paper actual composition can often be chosen only used in traditional paper lanterns had a after the water treatment is finished, so as to large numbers of heavy fibers, which stood shape a matching artistic conception, hence out as numerous winding vein-like patterns, the concept that 'painting is like making and he immediately placed an order with a moves in a game of chess or wei qi.' Dating manufacturer for a batch of cotton paper that from 1973, Penetrating Promontory (Lot 423) had a great many of these distinctive veins. is a typical work from Liu's early period of experimentation with this technique. The From left to right 由左至右 After applying colour to the paper, he would Lot 424 natural flow of spreading black inks forms the strip off a certain number of those fibers; the Franz Kline, Third Avenue, 1954, Christie's New York, 17 May 2018, Lot 0035B, background; several pieces of paper in distinct result resembled the 'fei bai' (flying white) sold for USD 3,252,500 seen in traditional calligraphic brushwork. rock shapes are mounted on top to form a Artwork: © 2018 The Franz Kline Estate / Artists Rights Society (ARS), New York 法因第三大1954年作士 2018年5月17日品 0035B Combined with these methods of treating scene of grandeur, of cliffs reaching to the sky. 成3,252,500 his materials, Liu Kuo-Sung in the 1960s Southern Song Dynasty, attributed to Muqi, Dusk over Fisher's Village (details), made bold use of the 'wild cursive' style of circa. 1250, Nezu Art Museum calligraphic brushwork in his paintings, as in (傳)照圖(局) 1250年作日本京根術 his Unrestrained (Lot 425). There, the artist's broad, calligraphic lines, highly charged with The brushes in Chinese painting, are held vertically above the flat paper; crests of ink float and dissolve into a sense of movement, meet spreading washes the painting's waiting spaces...what the entire painting captures is a kind of metaphysical aura, the flowing of diluted ink and the white veins of the spirit and energy of the universe, beyond what our eyes can see. This sense of constant movement, reaching treated paper, and with just a few strokes of the brush, he sets out an abstract landscape, to the utmost edges, is what the Chinese painters searched for all their lives, and is also what abstract one that is simple, uncluttered, and spacious, painters hope they will achieve. yet full of variations in texture and feel. Liu's broad-brush creative approach here is not Liu Kuo-Sung unrelated to the influence of Western Abstract Expressionism on his work, though the source 中國畫的用，空中，花，與畫上的白，成一全幅畫面的一種而上的、見的的流行，終， of his deft brushwork and his willingness to Liu Kuo-Sung and his work in the 1960s 上下，這是中國畫家生所的，也是畫家的。國與他的期水作品，1960年 leave large areas of blank space can clearly be traced to the 'xie yi' (freehand brush work) 國松 Liu Kuo-Sung was born in Shandong in 1932 painting styles of ancient China. and moved to Taiwan in his youth. In 1949 he enrolled in the Fine Arts program in Taiwan In 1966-67, Liu traveled around the world, and Normal University, where he was taught by upon returning, found it difficult to forget the 國松1932年出於山東，年時，了一表面富有的，每施之，表。前者了藝術家前大筆的作方 master painters like Chu Teh-Chun and Pu grand, beautiful vistas of snowy mountains 1949年入師大學美術，師將上的，畫面出傳統，時的，畫面充滿了動 Hsin-Yu. Though familiar with ink painting from in Switzerland. He created a series of works 、心一代大家。雖自學水，但法的白。這種對的處理，的；者別出心，前景山石 childhood, his university training influenced on this theme, of which his Untitled (Lot 受師大美術的，在藝術早年國松在1960年代的作以狂筆法大膽入，景的表白雪中的 him to focuse on painting with oil and other 424) and The Limits of Snow (Lot 426) are 1961 425 Western media early in his career. Until 1961, representative works. Untitled continues his 於畫方作。至年，他畫，《》品的畫面所約景。 previous style employing broad brushstrokes, 觀了宮院出的中國畫特，的，藝術家用大筆寫出富有動的法 when he viewed an exhibition of ancient 至1972年，國松水法， but adds bright color tonalities that fill the 深受發，重東方畫的水，，以以及白處理， Chinese paintings at the National Palace 入水中，水面的，以 work with a sense of vibrant, rhythmic energy. 一，他身行水作，重新筆，出的象山水，理 Museum in Taipei, he felt truly inspired to 作畫面的處理。一國畫作過 The Limits of Snow is distinctive in that the 水筆法以及張在中國畫中的的變化。這種大筆的作方，他 once again pick up brush and ink and paint ，水畫其水的然性，要根據印 structure of the boulders in the foreground 用，用自的、、水法多受時代方象表主畫的無 with the media of the Eastern tradition. For 出來的圖，造的， the rest of his life, he engaged in intensive is quite clear, while in the background, the 種方水畫的代新，對代水藝，他動的筆以及大的白處理，了「畫」的理。作於1973年的《石 experiments with ink painting, redefining both artist relies on the paper's pattern of creases 術的發了的。中國代寫畫本源。》品423是國松在運用水 brush techniques and the ways in it uses paper. and wrinkles to help suggest the indistinct 1960年代，回水的國松為畫面的國松於1966至1967年遊國，來之法初期作出來的一作品。以的自 Advocating innovations that would modernize outlines of a broad bank of snow. 覺，於畫的。一的他以士雪山的美景，作然動出畫面的景，在其上別 ink painting, he employed techniques of his By 1972, Liu had begun attempting his 'water- 然會，他發燈籠的有大，了一雪景作，《無題》品424 一格的山石造，畫名所，出一種 own invention such as geometric collages, rubbing' technique. This involved dripping 出無的白，《雪之》品426是其中的代石的景象。 Lot 423

152 423 LIU KUO²SUNG ±LIU GUOSONG, TAIWAN, B. 1932³ Penetrating Promontory

signed and dated in Chinese (middle right) ink and colour with collage on paper 89.2 x 38.2 cm. (35 ⅛ x 15 in.) Executed in 1973 one seal of the artist

HK$180,000280,000 US$24,00036,000

PROVENANCE Private Collection, Australia

國松 ±，1932年生³

石

水本 1973年作：國松一三 (右中) 藝術家印一

來源洲人收藏

424 LIU KUO²SUNG 國松 ±LIU GUOSONG, TAIWAN, B. 1932³ ±，1932年生³

Untitled 無題 signed and dated in Chinese (upper left) 水本 ink and colour with collage on paper 1968 53.3 x 53.8 cm. (21 x 21 ⅛ in.) 年作 Executed in 1968 ：國松一 (左上) one seal of the artist 藝術家印一

HK$200,000300,000 US$26,00038,000

PROVENANCE 來源 Private Collection, USA (acquired directly from the artist in his studio in Taiwan 美國人收藏 (約1970年於藝術家作得自 circa 1970) 藝術家本人)

154 425 426 LIU KUO²SUNG 國松 LIU KUO²SUNG 國松 ±LIU GUOSONG, TAIWAN, B. 1932³ ±，1932年生³ ±LIU GUOSONG, TAIWAN, B. 1932³ ±，1932年生³

Unrestrained The Limits of Snow 雪之 signed and dated in Chinese (middle left) signed and dated in Chinese (lower left) 水本水本 ink and colour on paper ink and colour with collage on paper 1963年作 1968 58 x 94.5 cm. (22 ⅞ x 37 ¼ in.) 44.5 x 87.2 cm. (17 ½ x 34 ⅜ in.) 年作 Painted in 1963 ：國松一三 (左中) Painted in 1968 ：國松一 (左) one seal of the artist 藝術家印一 one seal of the artist 藝術家印一

HK$350,000550,000 HK$280,000380,000 US$45,00070,000 US$36,00049,000

PROVENANCE 來源 PROVENANCE 來源 Private Collection, Asia 洲人收藏 Private Collection, Australia 洲人收藏

156 427 YANG CHI HUNG ±USAÍTAIWAN, B. 1947³ ±國Í，1947年生³

Eccentric Beauty signed, titled and dated 'Chihung Yang, Eccentric Beauty, 2007' (on 畫 the reverse) acrylic on canvas 2007年作 71 x 161 cm. (28 x 63 ⅜ in.) ：Chihung Yang; Eccentric Beauty; 2007 (畫) Painted in 2007 428

HK$260,000400,000 YANG CHI HUNG US$34,00051,000 ±USAÍTAIWAN, B. 1947³ ±國Í，1947年生³

PROVENANCE 來源 Trap Private Collection, Asia 洲人收藏 signed, titled, dated, and inscribed 'Chihung Yang Trap. 1986-87 charcoal and acrylic 98'x78' (on the reverse) 筆畫 LITERATURE charcoal and acrylic on canvas 1986-1987年作 Asia Art Center, Yang Chihung: 50 years of painting, Taipei, Taiwan, 2014 2014年《 1967-2014》洲藝術中心 249 x 197.8 cm. (98 x 77 ⅞ in.) ：Chihung Yang Trap. 1986-1987 charcoal and (illustrated, p.219). (圖版，219) Painted in 1986–1987 acrylic 98'x78' (畫) This season, Christie's presents the classic By contrast with the intense colours of his 此次士呈現80年明時期 HK$250,000450,000 1980s work by Yang Chihung, Trap (Lot early period, Yang's work during the "90s 的經作品(品428)，與他90 428), from his Civilization and Archaeology gradually shifted toward a refined, practiced 年物化至有時期的 US$33,00058,000 series, along with a key work from the kind of Eastern aesthetic. In Eccentric 之作奇(品427)。完成於1987年 PROVENANCE 來源 period in the 1990s when his Botanical Beauty, brushstrokes suggestive of ink- 的，於Betsy Rosenfield 畫前藏者得自藝術家 Aesthetics series was evolving toward wash techniques fuse into plant-like images; 出，被印於之上，明了的 Acquired directly from the artist by the previous owner 美國蘇人收藏 Organic Abstract Expressionism, Eccentric color is smeared on with horizontal sweeps 表性地。這是一幅始性元與精神 Private Collection, Minneapolis, Minnesota, USA 美國蘇中學受上 Beauty (Lot 427). The Trap, dating from 1987, of the brush, guiding the viewer's gaze 的表現性作品，的畫面是此時 The Blake School, Minneapolis, Minnesota, USA, by bequest from the above received a showing at the Betsy Rosenfield toward the center of the rhythmically flowing 期的要色，隻身入一場知神的 Gallery in Chicago, and as evidence of its composition, conveying a sense of nature in ，同時構出的情感經驗。 EXHIBITED 1987年10月9-31日「：1986-1987本作 representative status, was chosen for the its ever-growing and changing state. This Chicago, USA, Besty Rosenﬁeld Gallery, Chihung Yang: Paintings and Works on 比期的用色強，90年以後的作品逐漸品」Betsy Rosenﬁeld畫廊美國 Paper 1986-1987, 9-31 October 1987 cover of their gallery opening invitation. A was a key period in Yang's evolution from 成一種的方風。在奇 expressionistic work, it embraces elements his Botanical Aesthetics series and toward 中以帶有的合物的，以 LITERATURE of primitive wildness along with hints of his period of organic abstraction. The plant 抹，將觀者的放至在流動的畫 1993年《畫》時代畫廊 (圖版， Contemporary Gallery, Chihung Yang, Taipei, Taiwan, 1993 spiritual symbolism. Such rich implications motifs are still present, but there are also 面中，是生生不息的自然姿。此時期 14圖，46-47) (illustrated, plate 14, p. 46). were an important feature of Yang's work the rapid, flowing abstract lines, vibrating 是物化至有時期的 2002年《》大NO. 5 Main Trend Cultural Enterprise Co Ltd., Main-trend NO. 5 Summer Volume: during this period; one is seemingly caught with life energy; both here are melded into a 期，有物的，也有著後期流 (圖版，46) Chihung Yang Special, Taipei, Taiwan, 2002 (illustrated, p. 46). up in an unknown, mysterious adventure, as perfectly unified whole. Yang Chihung here 動、滿生擺的，兩者巧妙的被合 2004年《象由心：作品》國 National Museum of History, The Images of the Mind: Chihung Yang's Paintings, the artist constructs an emotional experience produces a harmonious dance of wind and 而為一，出一種風和物和的有 (圖版，137) Taipei, Taiwan, 2004 (illustrated, p. 137). that impacts at the subconscious level. plant life, their organic rhythms echoing and ，在畫面中。 resounding across the canvas. 158 429 WANG YAN CHENG 成 ±CHINA, B. 1960³ ±中國，1960年生³

Untitled 無題

signed in Chinese, signed and dated 'Wang yan cheng 2011 april' 畫 (lower right) ; signed and dated in Chinese, signed 'Wang yan cheng' 2011年作 (on the reverse) oil on canvas ：Wang yan cheng 成 2011 april (右) ; 150 x 180 cm. (59 x 70 ⅞ in.) 成 2011年 Wang yan cheng (畫) Painted in 2011

HK$1,500,0002,500,000 US$200,000320,000

PROVENANCE 來源 Private Collection, Asia 洲人收藏

EXHIBITED 2011年5月28日至10月2日「來自洲的：東方 Ginals, France, L' Abbaye de Beaulieu en Rouergue Centre d'art 方．的」院代藝術中心吉法國 Contemporin, Un sou½le venu d'Asie: Orient-Occident. Regards Croisés, 2014年12月2日至24日「成畫」國 28 May — 2 October 2011. Taipei, Taiwan, National Museum of History, Paintings by Wang Yan- Cheng, 2 — 24 December 2014. 2011年《成》．及耶畫廊巴法國 LITERATURE (圖版，37) Galerie Louis Carré & Cie, Wang Yan Cheng, Paris, France, 2011 2014年《成畫》國 (圖版， (illustrated, p.37). 78) National Museum of History, Paintings by Wang Yan-Cheng, Taipei, Taiwan, 2014 (illustrated, p.78).

The primary tone of Untitled is a mired control over oil paint, showing off different 無題的主一黑，， expanse of rich blackness, with varying ways in which the medium can be used. He 有中國水的刷。層次之間帶有感 brushstrokes that carry a hint of Chinese ink continuously creates and breaks apart the 的，卻有向下流動。背景 wash painting techniques. Between the layers balance between colours. A few splashes 有一發的，大成之， one finds thick, textured brown oil paint, with of red give the scene an ever-evolving 在生、，動合內的 streaks of brownish yellow flowing down. In dynamism. The flashes of mustard yellow 。作品中們以一成對地的 the background, there is an area of brooding also subtly contrast with the dark navy grey. 巧，示的不同表現手法。他不創 pressure that seems to be getting ready to Among the synergy of the brushstrokes, 、打色的平。作品中 explode, like the beginning of creation, when contrast between colours, and morphing of ，為畫面帶來不絕的動感。的 the universe's most fundamental forces are compositional elements, one sees a novel and 抹，與的灰對照。在的 fighting, growing, and brewing. In this work, poetic picture of abstractionism. 、色的對照、境的化之間，們到 we catch a glimpse of the artist's nuanced 時然的繪畫。

160 430 431 SU XIAOBAI 蘇 ±CHINA, B. 1949³ ±中國，1949年生³ SU XIAOBAI 蘇 ±CHINA, B. 1949³ ±中國，1949年生³ Mountain II 山II lacquer on bamboo mat Cinnabar Calligraphy, 2005 法，2005 大 95 x 113 cm. (37 ⅜ x 44 ½ in.) 2005年作 signed 'Su' (lower right) Executed in 2005 大 lacquer on masonite 86 x 91 cm. (33 ⅞ x 35 ⅞ in.) 2005年作 HK$500,000700,000 Executed in 2005 ：Su (右) US$65,00090,000 HK$220,000320,000 PROVENANCE 來源 US$29,00041,000 Private Collection, Germany 國人收藏 PROVENANCE 來源 LITERATURE Private Collection, Germany (acquired from Galerie Schmalfuss, 國人收藏 (藏者於約2012年自國 2006年《蘇2005》表中國美術學院出版 Gong Yun Biao (ed.), Su Xiaobai 2005, China Academy of Art Press, Hangzhou, Marburg, Germany, by the present owner circa. 2012) Schmalfuss畫廊) 中國 (圖版，183) China, 2006 (illustrated, p. 183)

In his early years, Su Xiaobai studied at the School of Art and Crafts China for thousands of years. After repeated studies and experiments 蘇早年曾武藝美術學和中美術學院，1987 年國，在 of Wuhan and the China Central Academy of Fine Arts before involving patient sanding, buffing, and colouring, he mastered the 多夫國藝術學院學畫。1999 年，蘇重中國，然大 emigrating to Germany in 1987, to study painting at the State ability to adjust effects such as shine, texture, and engraving. The 名中國，完變他來的作。大是傳統特有的， Academy of Fine Arts, Düsseldorf. In 1999, he returned to China and nuanced shifting colours and seemingly arbitrary but actually carefully 年為中國人所用。他經覆，心、、上，畫面 came across Chinese lacquer by chance, which completely changed controlled imprints give viewers a concrete sense of the artist's 、、刻。細膩的變化、興多變收自的印， the path of his later creations. Chinese lacquer is a medium that is "presence" in this work, and return to the art form's most fundamental 觀者受藝術家作時「在」，回藝術本的。 unique to traditional lacquerware-making, and had been in use in level. 162 432 TSENG YUHO 曾和 ±ZENG YOUHEÍBETTY ECKE, CHINA, 1925²2017³ ±中國，1925²2017³ Pali Look-out, Honolulu 山大風口

signed in Chinese (lower left) 水水金金本於木 ink, watercolour, gold, palladium, dsui collage and 1961年作 paper mounted on board 88 x 177 cm. (34 ⅝ x 69 ⅝ in.) ： (左) Executed in 1961 印：曾印 one seal of the artist

HK$300,000500,000 US$39,00064,000

PROVENANCE 來源 The Downtown Gallery, New York, USA 美國約中心美術 Private Collection, USA 美國人收藏

和生於京第，自大師畫。 Born into a literary family in Beijing, Tseng Yuho studied painting Michael Sullivan所著的二的中國術術家一中， under grandmaster Pu Xuezhai from a young age. Michael Sullivan 和的作品合中，是大師的在當中的 said of her in his book "Art and Artists of Twentity-Century China" that 和。 her works "combine the ancient and modern, East and West, and are 在五年，的和用自身的畫功創作出一的 the expression of the ancient masters' core qualities in contemporary 畫風，她在手上，讓張和之間成，以水 vocabulary." 與水作畫。她所然中國了，是中國化一沒有 In the 1950s, Tseng who had moved to Hawaii took her strong 。大風(品432) 是於此風上的創作，畫面被 foundation in calligraphy and painting skills to create the unprecedented 成了大不一的，成了前景與的。大風於 'dsui hua' (embellished painting) style, adding aluminium foils onto 島，在的群島一戰爭中，護島的戰士敗，身大風的 handmade rice paper to create boundaries between the paper and 跳下。在和下，上了色的大風發神的，著無 the foil, then painting onto it with ink and watercolour. As she said, 保家的士。一幅用畫風的作品著的不同，呈現 "although I had left China, Chinese culture has never left me." Pali 出與的感。這種合了中方技法的創作風，了化的 Look-out, Honolulu (Lot 432) is an example of this style, with the ，為繪畫了的能性，也為觀者更多元的體驗。和 canvas divided into blocks of varying sizes, and used to create contrast 生動的作品，其成為二傑出的術家之一。 between the foreground and distant mountains. The Pali Look-out is located in Hawaii's Oahu island, and during the archipelago's unification wars in the 18th century, soldiers who defended the island lost the battle and leapt into the sea from there. Under her brush, the lookout embellished with golden foils shine with a holy light and soothe the many brave souls who gave their lives fighting for their homeland. Because of the different ways in which the foils had been applied, each painting produced with the 'dsui hua' style has its own unique aesthetic. This creative technique which fuses together Chinese and Western techniques represent a breakthrough of cultural barriers, opening new possibilities for painters and providing viewers with a multi-faceted viewing experience. These lively and dynamic paintings make Tseng one of the most outstanding female artists in the 20th century.

Tseng Yuho at work. Photo taken at the Honolulu Museum of Art in 1964. Photo: Courtesy of Honolulu Museum of Art / Photographer unknown 和創作中，於1964年術物

164 433 GEORGE CHANN ±CHEN YINPI, USAÍCHINA, 1913²1995³ ±國Í中國，1913 ² 1995³

Calligraphic Variations 變

oil and collage on canvas 畫 91 x 71 cm. (35 ⅞ x 28 in.) 1960年代作 Painted in 1960s

HK$450,000550,000 US$58,00070,000

PROVENANCE 來源 Lin & Keng Gallery, Taipei, Taiwan 大來畫廊 Private Collection, Asia 洲人收藏

LITERATURE 2005年《》大來畫廊 (圖版，93-95) Lin & Keng Gallery, George Chann, Taipei, Taiwan, 2005 (illustrated, pp. 93-95)

Born in 1913 in Zhongshan, Guangdong, The 60s marked the peak of Chann's 1913年出生於中的在12時與 George Chann emigrated to California with creativity and his most expressive period. 家人國州。1941年士後，氏 his family at the age of 12. Upon receiving his The work Calligraphic Variations (Lot 躍於國畫壇。年的多畫風景和 master's degree in 1941, he became active 433) made during this era represented his 人，表現人當時國的 on the West Coast's art scene. His early earnest wish to inject Eastern influences into 題，出他人主義的。在1947年 works were mostly landscapes and portraits, abstract expressionism. At first glance, the 中國，其間與水畫家法家少 which revealed his humanitarian tendencies white touches recall Pollocks high-energy 結，受到了中國傳化的。50年 through the focus on presenting suffering of creations, capturing his flowing actions 始，後緊國的術潮流，始 underprivileged Americans, and commenting with brushstrokes. Upon closer inspection, 了對表現主義的。他以少族裔的人 on contemporary societal problems in the however, the winding white lines appear to 畫家身，結合個體與各種風， U.S. Chann returned to China in 1947 and form Chinese characters atop the bright red 在此術潮中創凸顯自己的化源頭。 met Chinese ink painter Huang Junbi and canvas, crisscrossing wildly, creating a sea of 1960年是創作最強，表現最的 calligrapher Chao Shaoan, who influenced calligraphy. The tight and taught texture of 一個。在這時期創作的體 Chann by exposing him to traditional this work juxtapose with the red background, 品433現了他把方性 Chinese culture. From the 50s onwards, and result in an overall scene that is at once 表現主義的創作情。之下，作品中白色 Chann returned to the U.S. and followed classical and modern. His free and fluid 的滿能的作品，用畫 American art trends closely, beginning his control over line and colours express his own 他的動作。細觀，這不盡的白色 experimentation with abstract expressionism. poetic take on the abstract world. 潑在色畫布上依見的， As a minority Chinese artist, he combined ，創出一法的海。作品 individual Chinese characters in different 的理，與色的背景成，成 writing styles with abstract expressionist 現的體觀感。對於、色的 brushstrokes, and set on creating his own 自由，在的中入了於他的 unique cultural expression amidst the fervour 情畫。 for contemporary trends.

166 PROPERTY FROM AN IMPORTANT ASIAN PRIVATE COLLECTION 洲重要人收藏

434 JU MING ±ZHU MING, TAIWAN, B. 1938³ ±，1938年生³

Taichi Series - Single Whip 太 signed in Chinese, dated and numbered '2003 AP 1/3' (incised on the lower back) 2003 stainless steel sculpture 年作 68 x 102 x 58 cm. ( 26 ¾ x 40 ⅛ x 22 ¾ in.) 版：藝術家自版 1/3 edition AP 1/3 ： 2003 自1/3 (刻於面方) Executed in 2003

HK$3,000,0004,000,000 US$390,000510,000

PROVENANCE 來源 Kalos Gallery, Taipei, Taiwan 美畫廊 Private Collection, Asia 洲人收藏 This work is accompanied by a certiﬁcate of authenticity issued by Kalos Gallery 此作品美畫廊之作品 Guangxi Arts Publishing House Co., China

"In a living work of art, the flow of each surface texture and line needs to follow the intrinsic life and sense of movement of the work, exhibiting the most rational and natural rhythm in the overall form. This is called working 'from inside out' to convey the vitality of the work." Ju Ming

生動的作品，一理的流動，都依據著作品內在與動的要，而呈現出體型上最合理、自然的動，這就是以裡達表傳出生的息。

Ju Ming and his Tai Chi series at Exchange Square, Hong Kong, 1986 Image: Courtesy of artist / photographer unknown 與他的，於場，1986

168 In the 1970s, Ju Ming took up Tai Chi at of proactive engagement and resistance. 1970年代，受師英風的， the advice of his mentor Yang Yuyu. After This engagement creates a sense that "one 太法。年，將太時的精 a few years, he blended what he had learnt must first give in order to take", for what 神入之中，作「太」。所的 of the spirit of Tai Chi as he was training is seen as "nothing" becomes something 「太」了東方美學傳統對寫的，過 into his sculptures to create the Tai Chi concrete. 對的化，人象之其神，出描 Series. Ju Ming's "Tai Chi" follows the In this new age, stainless steel has become 太中的動，了一種 fluidity of Eastern aesthetic traditions a popular medium of choice for a lot of 獨特的。 the spirit of the human form is captured artists by virtue of its "man-made" quality 《太——》(品434)以傳統太 through the simplicity of the sculpture, for example, Anish Kapoor's series of work. 的作為原。在太法裡，被 emphasising the solemnity and the build- When the materiality of steel is removed 為運之負承的一重要。 up of movements in Tai Chi, and lending from the sculpture's surface through 是「太」的源，是中 life to the sculpture itself. thorough scrubbing, distortions appear 為人的經造之一。中，一象人 Tai Chi Series Single Whip (Lot 434) on its mirror-surface, its "nothingness" takes its shape from the traditional Tai reflecting the myriad transformations of 姿，身，正來，手演 Chi form of 'single whip". In Tai Chi, the its audience and surroundings. Ju Ming, ，以備，中動，動裡藏，作 single whip is seen as the centrepiece of however, deliberately does not scrub the 品充滿之。 the fist's movement that bears its weight stainless steel of his creations thoroughly, 此《太——》作於2003年， as the fist moves. This form became the preserving the steel surface's rough texture 時「太」早，成為了獨特的藝 source of Ju Ming's "Tai Chi" series, and is and sculpting scars. This breathes the 術。經三十年對一題的復，藝術 one of the most familiar classic forms in life and fluidity found in Tai Chi into the 家在造上化，了對的大 the entire series. Within the sculpture, an sculpture, and gives the artwork a sense of 膽新。此他用作為作，其 abstract human figure crouches low with movement. 的表面，人造的動，本身邊 one leg bent, as if prepared to escape, Taichi Series- Overcoming Hardness with 的觀者了的動至對，人以 and its arms are positioned in the single- Softness (Lot 435), created in the mid- 「、」，「無為」「無 whip movement in self-defence. There is 1990s, is a formation of two humanoid 為」的觀。新時代以來，許多藝術家衷用 movement in the stillness and silence in sculptures. The figure on the left leans 作為作藝術品，大多是中了的「人 the action, bringing a sense of otherworldly forward, its attack aims at the waist 造」特安詩．的一作品， spirit to the sculpture. of the figure on the right; the figure on 過對作品表面行，去除本身的 Tai-Chi Series Single Whip was created the right has drawn its arms back to its 性，藝術品的面，自身的「」 in 2003, at a time when his "Tai Chi" series chest and back, sturdy and grounded in a 觀眾和邊景的變化。卻在作時有 was already an international sensation combination of defense and attack. Both and had become Ju Ming's unique artistic figures' centres are positioned low, and the 作面，了表面的以及 signature. After thirty-odd years of carving physicality of metal giving them a sense of ，將太中、順的特用 sculptures around the same theme, the texture. The interaction between the two 藝術造的表中，作品充滿了覺。 artist was shifting gears and beginning sculptures is reminiscent of the mutability 作於90年代中期的《太——以》( to move towards bolder experiments with and intercommunication of Tai Chi, and 品435)為人，左武者身 new media. This time the medium he perfectly encapsulates Ju Ming's belief 前，右武者；右武者拔， selected for his art was stainless steel; in the core tenement of Tai Chi: "stillness ，成一的。人重心均被 the combination of a reflective surface against movement, softness against ，發出厚的，此之成的 and the motions of the human form gives hardness, emptiness against the concrete, 動有太相相，完美了對太「以 the sculpture itself and its surrounding draw power from power". 435 動，以，，發」主張的精 environment, including its viewers, a sense 神。 JU MING ±ZHU MING, TAIWAN, B. 1938³ ±，1938年生³

Taichi Series- Overcoming Hardness with Softness 太－以 signed in Chinese; numbered and dated ' 1/20 '95' (incised on the lower (二) back); signed in Chinese; numbered and dated '1/20 '95' (incised on the 1995 ; 1995 lower back) 年作及年作 two bronze sculptures 版：1/20；及1/20 29.9 x 48.7. x 34 cm. (11 ¾ x 19 ⅛ x 13 ⅜ in.) & 33.8 x 26.3 x 22.1 cm. (13 ¼ x ： 1/20 '95 (刻於面方) ; 及 1/20 '95 10 ⅜ x 8 ¾ in.) (刻於面方) edition 1/20; & 1/20 Executed in 1995; & 1995

HK$420,000620,000 US$54,00079,000

PROVENANCE 來源 Private Collection, Asia 洲人收藏 Eduardo Chillida, The Praise of Architecture XVI, executed in 1998 Lot 435 alternate view (另一角) This work is accompanied by a certiﬁcate of authenticity issued by NPO Juming 法人金會之作品報 Artwork: © 2018 Artists Rights Society (ARS), New York / VEGAP, Madrid Culture & Education Foundation. 德多奇達之 1998 年作 170 436 FONG CHUNG²RAY 437 ±CHINA, B. 1934³ ±中國，1934年生³ HSU TUNG²LUNG 許東 98-19 之十 ±CHINA, B. 1947³ ±中國，1947年生³ signed, dated and titled in Chinese (lower middle); signed, 畫 Swaying Lotus dated and titled in Chinese (on the reverse) 1998 oil on canvas 年作 signed in Chinese; dated '2017' (incised on the lower back) 白 91 x 75.5 cm. (35 ¾ x 29 ⅞ in.) ：之十 (中；畫) white marble sculpture 2017年作 Painted in 1998 76 x 45 x 30 cm. (29 ⅞ x 17 ¾ x 11 ¾ in.) edition: 4/6 版：4/6 HK$120,000240,000 Executed in 2017 ：東 2017 (刻於面方) US$16,00031,000 HK$140,000220,000 來源 US$18,00028,000 洲人收藏 PROVENANCE 來源 Private Collection, Asia 洲人收藏 PROVENANCE

172 Private Collection, Asia HSIAO CHIN

Lot 442 Lot 440 Lot 444

in memory of his daughter, one of which is The medium of choice as opposed to oil paint and 440) displayed his expert command of colours, Eternal Garden51 (Lot 444). Hsiao Chin's ink, for acrylics combined the possibilities with acrylics that convey fascinating dye effect Hsiao Chin in his Barcelona studio in 1957 in Spain artworks harbour countless reflections on which oil paint and watercolour had to offer, of Eastern ink paintings. The vortex of colours Photo: © Hsiao Chin Art Foundation knowledge and intuition over the decades – as and allowed for rich layering as well as being gives an impression of spirals that pull the 1957年於班作作畫 "a window into the mysteries of the universe". flexible in its translucency. The crispness of the viewer into meditation. The evolution of the Chinese character 'speak', left to right: Oracle Bone Script, Bronze Inscriptions, Small Seal Script, Clerical Script, The sophistication of his conceptional thought acrylics in Untitled (Lot 439) complements the As an important pioneer of Asian abstract art, Regular Script and self-reflection appears in more than the white space beyond to create a sense of airy Hsiao Chin made significant contributions to ，由左至右、、、、 thematic concept of his works, but also in the elegance. L'equilibrio (The Balance) (Lot 443) both Asian and European artistic movements way he utilises colour and media. Influenced is his testament to the minimal stylistics of the through his clear-eyed insights towards by Art Informel in his early career, Hsiao Chin 1970s. He breaks through the boundaries of spirituality, artifice, and art. His creations are experimented with the impromptu nature of the canvas, experimenting with a cross-shaped among the best of his contemporaries and art with heavyweight oil paint, Paisaje Interior canvas and using thicker, more solid colours stand the test of time, and even today, are 46 (Lot 438) being a signature piece from that to create his own unique colour combinations. still revolutionary in the innovation of colour, era. From 1961 onwards, acrylics became his Towards the 1980s, Vortice Cosmico – 16 (Lot structure, and concept.

Hsiao Chin founded the "Ton Fan Group", the very beginning has always been exploring was the prized result of Hsiao Chin's early first abstract artists' circle in China, with a the world and spirituality, and contemplating experiment with Taoist theories. This series group of friends in 1955. He later sojourned the nature and relationships between the combines within it the beautiful balance in Spain and Italy, introduced European universe and matter, infinity and constraints, found in the structure of Chinese characters, avant-garde artworks and movements to rationality and spirit. Hsiao Chin's works with the basic circle, square, and crooked the Eastern art world, and was involved in invite the viewer to mindfully examine lines that make up the components of a exhibitions hosted by art agencies around the oneself and how one might use art to character, and through this innovative artistic world. In 1997, the Milan government hosted deconstruct these concepts, combining form it deconstructs and subverts the source a "Roaring 60s" retrospective exhibition, in elements of Western philosophy and Eastern of abstraction in Chinese culture. Hsiao Chin which Hsiao Chin was the only Asian artist metaphysical thoughts. Hsiao Chin says, journeyed through the US starting from the chosen for exhibition. He was conferred by "Lao Tzu's school of Zen thought suits my mid-1960s. Influenced by Hard Edge art, his the Italian President Carlo Azeglio Ciampi personally well, and has been the starting own creations took a turn for simplicity. Deep the honourable title of "Knight of Italian point I have always strived for ( ) to create Meditation (Lot 442) is a signature piece Solidarity Star" in 2005. His works have been through Eastern thoughts and intuitions". from that period, with a rigorous structure collected by Museum of Modern Art and The As in Chuang Tzu's The Great and Original and clean polished lines. The artist strove to Metropolitan Museum of Modern Art in New Teacher: "They wander beyond the mundane create a realm of "Entering Samadhi" through York, and other such international museums. world and stroll in the world of non-action." borders, and painted large swaths of colours This season's auction will present seven of The concept of "wandering and non-action" that balance the canvas's "vacantness" and his works, a thorough line of his creative has appeared in Hsiao Chin's works since energy. Hsiao Chin's artistic creations came highlights from the 1950s to the 1990s that the 1960s in various artistic methods and to a temporal end in 1990 due to the pain of showcases his artistic journey. scales that examine this particular worldview. his daughter's death. He found epiphanies A key element in Hsiao Chin's art from the Untitled (Lot 441) was painted in 1962, and during the long process of grief and mourning, and thus created a series of works

Lot 441 Lot 443 Lot 439

174 438 HSIAO CHIN ±XIAO QIN, TAIWAN, B. 1935³

早於1955年人中國一「、無」的自十年代出在景 46》品438為此的見之 Paisaje Interior 46 象畫「東方畫會」，作品，以然的表手法在上作。他在1961年用， (Interior Landscape 46) 、大，為人藝術入歐美作這種處世。《無題》品441 和水，為時有和水 signed 'HSiAO', signed in Chinese and 品、藝術運動，各地藝術作於1962年，是初學的成。的性，富的表之， dated 'VII. 1958' (lower left); signed 'HSiAO 。1997年米政「狂的十年代」這入了中國對稱之美的圖方，。《無題》品439 CHiN', titled '"PAiSAJE INTERIOR"-46-', 大回，是一入的洲藝術家。以本的、方、，的清，之以白的，令畫 and inscribed 'Pzai ViLLA MADRiD, 6 BARCELONA' (on the reverse) 2005年，他大統．過新的藝術、覆中國化象之面變得雅。《平》品443 oil on canvas 源。十年代中期往，深入遊美國，見了他過渡十年代的風格。他．「之」士。他的作 100.5 x 54.5 cm. (39 ⅝ x 21 ½ in.) 品被約代美術、大會國受邊畫，作品化為。《深了畫的邊，一種十的畫， Painted in 1958 收藏。本日作品，五十之觀》品442是這時期的代表用厚的，人特的年代十年代的作，相理出作，，。藝術家。十年代，《之十》 HK$150,000250,000 他的發里。「入」的，平大，平面的品440示他對的高， US$20,00032,000 「」張。1990年，遇女之，以表出東方水的。這對、性的由至是藝術的一一中作。他，此經，的一一觀者。 PROVENANCE ，思、無有、思大，作一女兒的作品，心的本及。作品觀者「作為造洲象藝術的重要一員， Private Collection, Europe 《久的花園 – 51 》品444正是其觀」身，以以藝術去這觀，著自身對性、造化、藝術的洞見，中之一。的藝術十性觀的充滿方思東方玄學情。為洲、歐洲的藝術運動出。他思，「玄之玄，眾之門」。：「思的性，這是的作站在時代的，在用、 ±，1935年生³ 一的東方人的出的性思、自，除了是他圖、源源地來時代的思、覺思方法來作」，見《．大作的主題，在他對、的處理新。象風景 46 師》：「然之，無為上。早期受藝術，初歐洲時之」。曾以厚重藝術的興元，《象風畫 1958年作：HSiAO VII. 1958 (左); HSiAO CHiN Pzai ViLLA MADRiD, 6 BARCELONA "PAiSAJE INTERIOR"-46- (畫)

來源歐洲人收藏

Hsiao Chin and his works in the Ton Fon Exhibition in Turin, Italy in 1960 Lucio Fontana, Concetto Spaziale, executed in 1956, Christie's Milan, 11 Apr Photo: Courtesy of Hsiao Chin International Art Foundation 2018, Lot 45, Price Realised: EUR 125,000 1960年其作品於大都方畫 Artwork: © 2018 Artists Rights Society (ARS), New York / SIAE, Rome 空間1956年作士 2018年4月11日 45 成元125,000

176 440 HSIAO CHIN ±XIAO QIN, TAIWAN, B.1935³ ±，1935年生³

Vortice Cosmico – 16 之十 439 signed 'Hsiao', signed and dated in Chinese (lower center); titled in 畫 Chinese (lower left); titled 'Vortice Cosmico – 16', dated '1985', and 1985 HSIAO CHIN inscribed '113 x 132 cm', one seal of the artist (on the stretcher) 年作 acrylic on canvas ：Hsiao 一五 (中)；之十 (左)； ±，1935年生³ ±XIAO QIN, TAIWAN, B. 1935³ 113 x 132 cm. (44 ½ x 52 in.) 'Vortice Cosmico – 16'1985 HSIAO CHIN 113 x 132 cm. Painted in 1985 (畫) Untitled 無題 signed 'Hsiao', signed in Chinese and dated '62' (lower middle); signed in HK$150,000250,000 畫 Chinese and dated '1962' (on the reverse) 1962 US$20,00032,000 acrylic on canvas 年作 60 x 49.5 cm. (23 ⅝ x 19 ½ in.) ：Hsiao 62 (中); 1962 (畫) PROVENANCE Painted in 1962 來源洲人收藏來源 Private Collection, Asia HK$50,000100,000 大人收藏藏家得自藝術家本人) EXHIBITED US$6,50013,000 2009年2月17至4月5日「無之1955-2008」 Milan, Italy, Triennale Bovisa, Hsiao Chin Viaggio in-ﬁnito 1955-2008, 17 坡三年米大 2002年《Hsiao Chin Opere 1958-2001》Mazzotta畫廊 PROVENANCE February – 5 April 2009. 米大 (圖版，49) Private Collection, Italy (acquired directly from the artist by the present owner) LITERATURE 2009年《無之1955-2008》吉 Carlo Cambi Editore, Hsiao Chin. Viaggio in-ﬁnito 1955-2008, Poggibonsi, Italy, LITERATURE 大 (圖版，57) 2009 (illustrated, p. 57). Hsiao Chin Opere 1958-2001, Mazzotta Gallery, Milan, Italy, 2002 (illustrated, p. 49). 178 442 HSIAO CHIN 441 ±XIAO QIN, TAIWAN, B.1935³ ±，1935年生³ HSIAO CHIN Deep Meditation 深之觀 signed 'Hsiao'; titled 'Deep meditation'; signed and titled in Chinese; ±，1935年生³ 畫 ±XIAO QIN, TAIWAN, B. 1935³ dated '1975' and inscribed '88 x 88 cm' (on the reverse) 1975年作 Untitled acrylic on canvas 無題 88 x 88 cm. (34 ⅝ x 34 ⅝ in.) ：Hsiao 1975 'Deep meditation'"深之觀" signed 'Hsiao', signed in Chinese and dated '1962' (lower right) Painted in 1975 88 x 88 cm. (畫) 畫 acrylic on canvas 1962年作 150 x 80 cm. (59 x 31 ½ in.) HK$100,000200,000 來源 Painted in 1962 ：Hsiao 1962 (右) US$13,00026,000 門藝術中心洲人收藏 HK$300,000400,000 PROVENANCE US$39,00051,000 Dimensions Art Center, Taipei, Taiwan 1996年《》門藝術中心 (圖版， Private Collection, Asia PROVENANCE 來源 93圖，161)

Private Collection, Italy 大人收藏 LITERATURE Dimension Art Centre, Hsiao Chin, Taipei, Taiwan, 1996 (illustrated, plate 93, p. 161)

180 443 444 HSIAO CHIN HSIAO CHIN ±XIAO QIN, TAIWAN, B. 1935³ ±，1935年生³ ±XIAO QIN, TAIWAN, B. 1935³ ±，1935年生³

L'equilibrio (The Balance) 平 Il Giardino Eterno - 51 (The Eternal Garden - 51) 久的花園 - 51 signed 'HSIAO', titled 'L'equilibrio' and dated '1966' (on the reverse) signed and dated in Chinese; signed 'Hsiao'; titled 'Il giardino 畫畫 oil on canvas eterno - 51' (on the reverse) 1966 1993 47 x 65 cm. (18 ½ x 25 ⅝ in.) 年作 acrylic on canvas 年作 Painted in 1966 ：HSIAO L'equilibrio 1966 (畫) 60 x 70 cm. (23 ⅝ x 27 ½ in.) ：Hsiao 三 'Il giardino eerno - 51'(畫) Painted in 1993 HK$100,000200,000 來源來源 HK$180,000260,000 US$13,00026,000 歐洲人收藏洲人收藏 US$24,00033,000 PROVENANCE Private Collection, Europe PROVENANCE Private collection, Asia

182 445 446 LUIS CHAN LUIS CHAN ±CHEN FUSHAN, CHINA, 1905²1995³ ±CHEN FUSHAN, CHINA, 1905²1995³ Night Magic Joy of Life

signed 'LUIS CHAN' and dated '1986' (lower right); signed 'LUIS CHAN' and dated '1984' (lower middle); titled 'NIGHT MAGIC' (on the reverse) signed 'LUIS CHAN', titled 'JOY OF LIFE', titled in Chinese, acrylic on canvas dated '1984' and inscribed 'bottom' (on the reverse); label of 130.5 x 80.5 cm. (51 ⅜ x 31 ¾ in.) Hong Kong Museum of Art affixed to the reverse Painted in 1986 acrylic on canvas, hanging scroll 238 x 137 cm. (93 ¾ x 53 ⅞ in.) HK$35,00055,000 Painted in 1984 US$4,5007,000 HK$80,000160,000

PROVENANCE US$11,00021,000 Hanart TZ Gallery, Hong Kong PROVENANCE Private Collection, Europe Hanart TZ Gallery, Hong Kong

EXHIBITED Private Collection, Europe Ferrara, Italy, Gallerie d'Arte Moderna e Contemporanea, EXHIBITED Aspetti Della Pittura Cinese Contemporanea, 3 July – 3 October 1988. Hong Kong, Hong Kong Museum of Art, Luis Chan - Fifty Years of Artistic Career, 7 September - 7 October 1984. Ferrara, Gallerie d'Arte Moderna e Contemporanea, Aspetti Della Pittura Cinese Contemporanea, 3 July – 3 October 1988. ±中國，1905²1995³

法 ±中國，1905²1995³ 畫 1986年作的：LUIS CHAN 1986 (右)；NIGHT MAGIC (畫) 畫來源 1984年作雅：LUIS CHAN 1984 (中)；JOY OF LIFE 的歐洲人收藏 LUIS CHAN 1984 BOTTOM (畫) ；藝術於畫

來源 1988年7月3日至10月3日「代中國畫」雅拉拉代藝術拉拉大歐洲人收藏

1984年9月7日至10月7日「五十年的作」藝術 1988年7月3日至10月3日「代中國畫」拉拉代藝術拉拉大

184 CHEN CHENG-PO

Chen Cheng-Po's paintings are infused with environmental symbolism, and the lack of leaves as though a wind is passing through the elegance of both Eastern and Western regard to composition this produced in their it, giving the trees in the foreground a sense art, and at the same time reflect his passion, art, resulted in unique, unfettered brushwork. of movement. Chen evokes Fauvist colours straightforwardness, and eye for detail. With Chen made use of this technique in the in the brick-red of the tower and the various his broad vision and sharp observant nature, creation of his own still life oil paintings and shades of green in the leaves. The landscape he stands his ground within the history of watercolour sketches. This season, Christie's of Hongmao Lake (Lot 452) is dominated by contemporary Chinese art, and is a pioneer proudly presents nine of Chen's pieces from the circular structure of a pool in its centre, in his field. Chen Cheng-Po was born in an important private collection, six of which with bare trees that reach up to the sky in 1895, and he dedicated his life to his nation, are oil paintings and three watercolour works the foreground obscuring the viewer's line homeland, family, and his beloved art. He on paper. One is able to see the way Chen of sight. A disproportionally large wanderer studied under Japanese painting master combines Western painting techniques and is blotted onto the image, emphasizing the Kinichiro Ishikawa early in his career, and elements of traditional literati art into his silent bliss of them disconnect with the learnt still-life drawing techniques in Taiwan works, and multiple sketches of watercolour world. before travelling to the Tokyo University nudes he painted on paper throughout 1932. Chen produced a large quantity of light- of the Arts to learn Western painting. Shanghai Ferry Pier (Lot 447) was painted colour sketches during his time in Shanghai. Lot 448 Lot 447 Afterwards, he went to Shanghai, where around 1932 to 1933, before Chen left Most of his sketches were female nudes, and he consolidated all that he had absorbed Shanghai to return to Taiwan. The wider are the foundations of his technical skills 的畫作著東方畫的，時人藏作品，畫作品，三前景樹木的姿。以描 in both Eastern and Western painting vision and the circular structure was what in line art and brushwork. His light-colour 他情、且細膩的性。廣的以上作品，見入方畫樓以各種描。 techniques. While in Shanghai, he inherited Chen frequently used. The familial scene artworks were created in 1932, when he 及的觀得他在中國代畫上有人畫的畫作，以見其於約《》(品452)以水圖據 a legacy of Chinese ink painting styles and in the foreground is also what frequently was still in Shanghai absorbing theories of 一之地，且深的作用。出於一三二年以水筆大作的各種女姿畫面中，前高天的木觀者。 techniques, and was also highly affected by appears in his works. His artworks throughout Chinese ink painting and Western art. Nude

his introduction to Western painting. that period of time were heavily focused on a Red Carpet (Lot 450) can perhaps be 國前十年，一奉國家、家、家上作品。的遊者在圖之中，畫作主題以以及愛的美術作。他早年日本美術大筆的人世的。 China plunged into political turmoil at the on landscape structures, as this particular viewed as a cumulative oil art piece of the 《上頭》(品447) 作於約一三二師石川一郎學，在得寫，東 start of 20th century. Chinese artists who painting does by conveying the sentiment time he spent studying Eastern and Western 至一三三年，為上回前的在上期大作描，他大寫 are deeply influenced by Western modern of a dockside parting. Upon his return to artistic techniques, and even be said to be 美術學學畫，在上他的東方作品。作品的為用的各種女姿，是其筆法的。 art theories gathered in Shanghai. After Taiwan in 1933, Chen produced countless the seminal work of his nude female studies. 畫。在上期，承繼中國水人畫的圖，前景中的畫面多出在的畫作。畫作別作於一三二年，時正於上 Chen's graduation from the Western Painting creations, including Sea of Clouds (Lot 449), One can observe Chen's progression from 風格法深受方畫的。二十世紀初的中這時期的作品於圖景之中，傳收中國水方畫理的期。《上 department at the Tokyo University of the painted in 1935. Traces of what Chen learnt still life to more impressionistic renderings 國上，正政，深受方代畫理 ( 450) Arts, he took up the responsibility of teaching from Chinese ink painting and the notion of within his light-colour sketches. Seated 頭別相的情。一三三年自的女》品許為在上的中國畫家於此。自東美術學 art in Shanghai in 1929. Between 1931 "subjective observations, objective painting" Nude (Lot 453), Standing Nude (Lot 454), 上回，作，期作於將東方畫收化表的畫作品，畫之，於一二年負上 and 1932 Chen joined the Juelanshe (The he learnt from Bada Shanren and Nizan could and Lying Nude (Lot 455) were created in 一三五年的《》(品449)作品，此稱為女畫作品的作。由的描美術。一三一至一三二年入「 Storm Society), along with his artist friends be found in this particular piece. Bagua 1932, and in the process, Chen deliberately 作品見於在上時期中國畫水寫作品中以受由寫寫的變化過」，良、畫家，為這 such as Pan Yuliang and Wang Jiyuan. His Mountain (2) (Lot 448) was painted in early employed iris-coloured stains to emphasis 畫的，由大山人以及的。《姿女》(品453)、《姿女》畫家，目地受歐洲巴畫方 close proximity to these artists resulted in 1940, and Chen's former apprenticeship under shadows and light and the figure of the body. 作品中出以觀的觀，描寫主觀的作。 (品454) 以及《姿女》(品455) 畫風。上對日的畫發 him being influenced by Parisian and other Kinochiro Ishikawa is apparent within the A close examination of the figure in Lying 《山 (二)》(品448) 於一四年前作於一三二年，在作過中刻以 Western arts movements of the time. work - the S-shaped linear structure, which Nude shows the level of detail that went into 深，他曾地表示由大山人及二中國期，出曾經師承石川一郎，由石的的姿。細 he had learnt from Ishikawa, is apparent in the feet, and in Seated Nude, the figure's 人水畫家中和筆的。大山人 His decision to settle in Shanghai would 川一郎處得S動的圖，畫中以S動觀《姿女》的描，特 this painting. One can observe the way the form is sketched out in simple brushwork, 為中國傳統水畫一相承的人畫家， leave a huge impression on Chen's artwork, 觀者於前景成雙的山者，著，《姿女》的描經化，在 for he once confirmed Chinese ink artists S-line leads the viewer's sight towards the and the figure of the human body is rendered 他們將心情化成畫表在畫面中，重 foreground on which a pair of hikers stand, in bare lines. The pure elegance of the 的山於高之中，的塔者《姿女》的作中，運用筆描 Bada Shanren and Ni Zan as his most 「」、造的畫成一種格 along the spiraling mountain path up to colours found within these three light-colour 以上的動觀者上目。在《樓》，的以筆作出人姿 important influences in the techniques of 特的特筆法。此將其運用於畫寫 the summit; the travelers climbing up the paintings evokes a sense of warmth and (品451)畫面中，以筆描。三幅圖中雅的以人情的 lines and brushworks. Bada Shanren and 水描的作上。本士得重推出重要 Ni Zan, both literati painters of Chinese winding road invites the viewer's attention sentiment. ，動的風過，情。 ink art, poured the landscapes of their upward. In Building (Lot 451), Chen makes minds into their art. Their emphasis on use of quick blots in his brushwork sketch of the leaves and branches, the sway of the

Lot 455

Lot 452 Lot 449 Lot 450 Lot 451 Lot 454 Lot 453 186 PROPERTY FROM AN IMPORTANT ASIAN PRIVATE COLLECTION 洲重要人收藏

447 CHEN CHENG²PO ±CHEN CHENGBO, TAIWAN, 1895²1947³ ±，1895²1947³

Shanghai Ferry Pier 上頭

signed in Chinese (lower left) 畫 oil on canvas 約1932-1933年作 38.3 x 45.7 cm. (15 ⅛ x 18 in.) Painted circa. 1932-1933 ： (左)

HK$1,500,0002,500,000 US$200,000320,000

PROVENANCE 來源 Private Collection, Asia 洲人收藏

EXHIBITED 2014年1月18日3月30日「二東大 Tainan, Taiwan, Tainan Municipal Cultural Center, Surging Waves—Chen 」化中心 Cheng-po's 120th Birthday Anniversary Touring Exhibition Tainan, 18 2014年6月6日7月6日「上藝術大」中藝術宮 January—30 March 2014 上中國 Shanghai, China, China Art Museum, Misty Vapor on the High Seas: Chen Cheng-po's Art Exhibition, 6 June—6 July 2014. 1992年《美術1 》藝術家出版 LITERATURE (圖版，35圖，94) Artist Co. Ltd., Taiwan Fine Arts Series 1: Chen Cheng Po, Taipei, Taiwan, 2014年《二東大》政 1992 (illustrated, plate 35, p.94). (圖版，194) Tainan City Goverment, Surging Waves—Chen Cheng-po's 120th Birthday 2014年《上藝術作品》上人美術出版上 Anniversary Touring Exhibition Tainan, Tainan, Taiwan, 2014 (illustrated, 中國 (圖版，129) p.194). Shanghai People's Fine Arts Publishing, Misty Vapor on the High Seas: Collected Artwork of Chen Cheng-po, Shanghai, China, 2014 (illustrated, p.129).

Kinichiro Ishikawa, Shinano Omachi, Christies' Hong Kong, 31 May, 2015, Sold at HKD 81,250 石川一郎大士 2015年5月31日成81,250元

188 PROPERTY FROM AN IMPORTANT ASIAN PRIVATE COLLECTION 洲重要人收藏

448 CHEN CHENG²PO ±CHEN CHENGBO, TAIWAN, 1895²1947³ ±，1895²1947³

Bagua Mountain (2) 山 (二) signed in Chinese (lower left) 畫 oil on canvas 約1940-1944年作 38.5 x 46 cm. (15 ⅛ x 18 ⅛ in.) Painted circa. 1940-1944 ： (左)

HK$1,500,0002,500,000 US$200,000320,000

PROVENANCE 來源 Private Collection, Asia 洲人收藏

EXHIBITED 2011年10月22日2012年2月28日「情紀 Kaosiung, Taiwan, Kaosiung Museum of Fine Arts, Nostalgia in the Vast 」高美術高 Universe: Commemorative Exhibition of Chen Cheng-po, 22 October 2011—28 2014年1月18日3月30日「二東 February 2012. 大」化中心 Tainan, Taiwan, Tainan Municipal Cultural Center, Surging Waves—Chen 2014年6月6日7月6日「上藝術大」 Cheng-po's 120th Birthday Anniversary Touring Exhibition Tainan, 18 中藝術宮上中國 January—30 March 2014 2014年12月5日2015年3月30日「藏二東 Shanghai, China, China Art Museum, Misty Vapor on the High Seas: Chen 大」國宮院 Cheng-po's Art Exhibition, 6 June—6 July 2014. Taipei, Taiwan, National Palace Museum, Hidden Talent—Chen Cheng-po's 120th Birthday Anniversary Touring Exhibition Taipei, 5 December 2014—30 2011年《情紀》高美術高 March 2015 (圖版，85) 2014年《二東大》 LITERATURE 政 (圖版，342) Kaohsiung Museum of Fine Arts, Nostalgia in the Vast Universe: 2014年《上藝術作品》上人美術出版 Commemorative Exhibition of Chen Cheng-po, Kaohsiung, Taiwan, 2011 上中國 (圖版，267) (illustrated, p.85). 2014年《藏二東大》法人 Tainan City Goverment, Surging Waves—Chen Cheng-po's 120th Birthday 化金會 (圖版，200) Anniversary Touring Exhibition Tainan, Tainan, Taiwan, 2014 (illustrated, p.342). Shanghai People's Fine Arts Publishing, Misty Vapor on the High Seas: Collected Artwork of Chen Cheng-po, Shanghai, China, 2014 (illustrated, p.267). Chen Cheng-po Cultural Foundation, Hidden Talent—Chen Cheng-po's 120th Birthday Anniversary Touring Exhibition Taipei, Chiayi, Taiwan, 2014 (illustrated, p.200).

Yuan Dynasty (1271-1368), Ni Zan, Six Nobles, Shanghai Museum, Shanghai, China 元子圖中國上海上海物藏

190 PROPERTY FROM AN IMPORTANT ASIAN PRIVATE COLLECTION PROPERTY FROM AN IMPORTANT ASIAN PRIVATE COLLECTION 洲重要人收藏洲重要人收藏

449 CHEN CHENG²PO ±CHEN CHENGBO, TAIWAN, 1895²1947³ ±，1895²1947³

Sea of Clouds signed in Chinese and dated '1935' (lower left) 木 450 oil on board 1935年作 24 x 33 cm. (9 ½ x 13 in.) Painted in 1935 ：1935 (左) CHEN CHENG²PO ±CHEN CHENGBO, TAIWAN, 1895²1947³ ±，1895²1947³ HK$650,000950,000 US$84,000120,000 Nude on a Red Carpet 上的女 oil on board 木 PROVENANCE 來源 7.2 x 11 cm. (2 ⅞ x 4 ⅜ in.) Private Collection, Asia 洲人收藏 HK$250,000450,000

EXHIBITED US$33,00058,000 2011年10月22日2012年2月28日「情紀」 Kaosiung, Taiwan, Kaosiung Museum of Fine Arts, Nostalgia in the Vast Universe: 高美術高 Commemorative Exhibition of Chen Cheng-po, 22 October 2011—28 February 2012. PROVENANCE 來源 2014年1月18日3月30日「二東 Tainan, Taiwan, Tainan Municipal Cultural Center, Surging Waves—Chen Cheng-po's Private Collection, Asia 洲人收藏大」化中心 120th Birthday Anniversary Touring Exhibition Tainan, 18 January—30 March 2014 2014年6月6日7月6日「上藝術大」中藝術宮 Shanghai, China, China Art Museum, Misty Vapor on the High Seas: Chen Cheng-po's EXHIBITED 上中國 2011年10月22日2012年2月28日「情 Art Exhibition, 6 June—6 July 2014. Kaosiung, Taiwan, Kaosiung Museum of Fine Arts, Nostalgia in the Vast 2014年12月5日2015年3月30日「藏二東紀」高美術高 Taipei, Taiwan, National Palace Museum, Hidden Talent—Chen Cheng-po's 120th Universe: Commemorative Exhibition of Chen Cheng-po, 22 October 大」國宮院 2014年6月6日7月6日「上藝術大」中 Birthday Anniversary Touring Exhibition Taipei, 5 December 2014—30 March 2015 2011—28 February 2012. 藝術宮上中國 Shanghai, China, China Art Museum, Misty Vapor on the High Seas: LITERATURE Chen Cheng-po's Art Exhibition, 6 June—6 July 2014. 2011年《情：紀》高美術高 Kaohsiung Museum of Fine Arts, Nostalgia in the Vast Universe: Commemorative (圖版，76) 2011年《情: 紀》高美術高 Exhibition of Chen Cheng-po, Kaohsiung, Taiwan, 2011 (illustrated, p.76). LITERATURE 2014年《二東大》 (圖版，168) Tainan City Goverment, Surging Waves—Chen Cheng-po's 120th Birthday Anniversary Kaohsiung Museum of Fine Arts, Nostalgia in the Vast Universe: 政 (圖版，382) 2014年《上藝術作品》上人美術出版 Touring Exhibition Tainan, Tainan, Taiwan, 2014 (illustrated, p.382). Commemorative Exhibition of Chen Cheng-po, Kaohsiung, Taiwan, 2011 2014年《上藝術作品》上人美術出版上上中國 (圖版，229) Shanghai People's Fine Arts Publishing, Misty Vapor on the High Seas: Collected (illustrated, p.168). 中國 (圖版，282) Artwork of Chen Cheng-po, Shanghai, China, 2014 (illustrated, p.282). Shanghai People's Fine Arts Publishing, Misty Vapor on the High Seas: 2014年《藏二東大》法人 Chen Cheng-po Cultural Foundation, Hidden Talent—Chen Cheng-po's 120th Birthday Collected Artwork of Chen Cheng-po, Shanghai, China, 2014 (illustrated, 化金會 (圖版，171) Anniversary Touring Exhibition Taipei, Chiayi, Taiwan, 2014 (illustrated, p.171). p.229). 192 PROPERTY FROM AN IMPORTANT ASIAN PRIVATE COLLECTION 洲重要人收藏

451 CHEN CHENG²PO ±CHEN CHENGBO, TAIWAN, 1895²1947³ ±，1895²1947³

Building 樓 oil on board 木 33.5 x 24 cm. (13 ¼ x 9 ½ in.)

HK$750,0001,200,000 來源洲人收藏 US$97,000150,000

PROVENANCE Private Collection, Asia 2011年10月22日2012年2月28日「情紀」高美術高 EXHIBITED 2014年1月18日3月30日「二東 Kaosiung, Taiwan, Kaosiung Museum of Fine Arts, Nostalgia in the Vast Universe: 大」化中心 Commemorative Exhibition of Chen Cheng-po, 22 October 2011—28 February 2014年6月6日7月6日「上藝術大」中 2012. 藝術宮上中國 Tainan, Taiwan, Tainan Municipal Cultural Center, Surging Waves—Chen Cheng- 2014年12月5日2015年3月30日「藏二 po's 120th Birthday Anniversary Touring Exhibition Tainan, 18 January—30 March 東大」國宮院 2014 Shanghai, China, China Art Museum, Misty Vapor on the High Seas: Chen Cheng- 2011 : po's Art Exhibition, 6 June—6 July 2014. 年《情紀》高美術 ( 112 ) Taipei, Taiwan, National Palace Museum, Hidden Talent—Chen Cheng-po's 120th 高圖版， 2014 Birthday Anniversary Touring Exhibition Taipei, 5 December 2014—30 March 2015 年《二東大》政 (圖版，380) LITERATURE 2014年《上藝術作品》上人美術出版 Kaohsiung Museum of Fine Arts, Nostalgia in the Vast Universe: Commemorative 上中國 (圖版，307) Exhibition of Chen Cheng-po, Kaohsiung, Taiwan, 2011 (illustrated, p.112). 2014年《藏二東大》 Tainan city goverment, Surging Waves—Chen Cheng-po's 120th Birthday 法人化金會 (圖版，198) Anniversary Touring Exhibition Tainan, Tainan, Taiwan, 2014 (illustrated, p.380). Shanghai People's Fine Arts Publishing, Misty Vapor on the High Seas: Collected Artwork of Chen Cheng-po, Shanghai, China, 2014 (illustrated, p.307). Chen Cheng-po Cultural Foundation, Hidden Talent—Chen Cheng-po's 120th Birthday Anniversary Touring Exhibition Taipei, Chiayi, Taiwan, 2014 (illustrated, p.198).

194 PROPERTY FROM AN IMPORTANT ASIAN PRIVATE COLLECTION PROPERTY FROM AN IMPORTANT ASIAN PRIVATE COLLECTION 洲重要人收藏洲重要人收藏

452 CHEN CHENG²PO ±CHEN CHENGBO, TAIWAN, 1895²1947³ ±，1895²1947³

Hongmao Lake signed in Chinese (lower left) 木 oil on board 1942 27 x 21.2 cm. (10 ⅝ x 8 ⅜ in.) 約年作 Painted circa. 1942 ： (左)

HK$600,0001,000,000 來源 US$77,000130,000 洲人收藏 453

PROVENANCE 2011年10月22日2012年2月28日「情紀 CHEN CHENG²PO Private Collection, Asia 」高美術高 ±CHEN CHENGBO, TAIWAN, 1895²1947³ ±，1895²1947³ 2014年6月6日7月6日「上藝術大」 EXHIBITED 中藝術宮上中國 Seated Nude 姿女 Kaosiung, Taiwan, Kaosiung Museum of Fine Arts, Nostalgia in the Vast 2014年12月5日2015年3月30日「藏二東 signed in Chinese and dated '1932.5.29' (middle right) Universe: Commemorative Exhibition of Chen Cheng-po, 22 October 2011—28 水筆本大」國宮院 watercolour and charcoal on paper 1932 February 2012. 35.8 x 26.4 cm. (14 ⅛ x 10 ⅜ in.) 年作 Shanghai, China, China Art Museum, Misty Vapor on the High Seas: Chen Painted in 1932 ：1932.5.29 (右中) Cheng-po's Art Exhibition, 6 June—6 July 2014. 2011年《情: 紀》高美術高 one seal of the artist 藝術家印一 Taipei, Taiwan, National Palace Museum, Hidden Talent—Chen Cheng-po's (圖版，95) 120th Birthday Anniversary Touring Exhibition Taipei, 5 December 2014—30 2014年《上藝術作品》上人美術出版 HK$40,00080,000 March 2015 上中國 (圖版，305) US$5,20010,000 2014年《藏二東大》法人 LITERATURE 化金會 (圖版，195) PROVENANCE 來源 Kaohsiung Museum of Fine Arts, Nostalgia in the Vast Universe: Private Collection, Asia 洲人收藏 Commemorative Exhibition of Chen Cheng-po, Kaohsiung, Taiwan, 2011

(illustrated, p.95). LITERATURE Shanghai People's Fine Arts Publishing, Misty Vapor on the High Seas: Collected 1992年《美術1 》藝術家出版 Artist Co. Ltd., Taiwan Fine Arts Series 1: Chen Cheng Po, Taipei, Taiwan, 1992 Artwork of Chen Cheng-po, Shanghai, China, 2014 (illustrated, p.305). (圖版，99圖，167) (illustrated, plate 99, p.167). Chen Cheng-po Cultural Foundation, Hidden Talent—Chen Cheng-po's 120th 2012年《三寫》藝術家出版 Artist Co., Chen Cheng-po Cultural Foundation and Institute of Taiwan History, Birthday Anniversary Touring Exhibition Taipei, Chiayi, Taiwan, 2014 (illustrated, 法人化金會中院所 (圖版， Chen Cheng-Po Corpus Volume.3 Watercolor Sketch, Taipei, Taiwan, 2012 p.195). WS268，307) (illustrated, number WS268, p.307). 196 PROPERTY FROM AN IMPORTANT ASIAN PRIVATE COLLECTION PROPERTY FROM AN IMPORTANT ASIAN PRIVATE COLLECTION 洲重要人收藏洲重要人收藏

454 455 CHEN CHENG²PO CHEN CHENG²PO ±CHEN CHENGBO, TAIWAN, 1895²1947³ ±，1895²1947³ ±CHEN CHENGBO, TAIWAN, 1895²1947³ ±，1895²1947³

Standing Nude 姿女 Lying Nude 姿女 watercolour and charcoal on paper watercolour and charcoal on paper 水筆本水筆本 35.8 x 28.4 cm. (14 ⅛ x 11 ⅛ in.) 26.8 x 36.3 cm. (10 ½ x 14 ¼ in.) 1932 約1932年作 Painted circa. 1932 約年作 Painted circa. 1932 one seal of the artist 藝術家印一 one seal of the artist 藝術家印一

HK$40,00080,000 來源 HK$40,00080,000 來源

US$5,20010,000 洲人收藏 US$5,20010,000 洲人收藏

PROVENANCE PROVENANCE 1992年《美術1 》藝術家出版 1992年《美術1 》藝術家出版 Private Collection, Asia Private Collection, Asia (圖版，116圖，184) (圖版，107圖，175) 2012年《三寫》藝術家出版 2012年《三寫》藝術家出版 LITERATURE LITERATURE 法人化金會中院所 (圖版，法人化金會中院所 (圖版， Artist Co. Ltd., Taiwan Fine Arts Series 1: Chen Cheng Po, Taipei, Taiwan, WS323，363) Artist Co. Ltd., Taiwan Fine Arts Series 1: Chen Cheng Po, Taipei, Taiwan, WS301，341) 1992 (illustrated, plate 116, p.184). 1992 (illustrated, plate 107, p.175). Artist Co., Chen Cheng-po Cultural Foundation and Institute of Taiwan Artist Co., Chen Cheng-po Cultural Foundation and Institute of Taiwan History, Chen Cheng-Po Corpus Volume.3 Watercolor Sketch, Taipei, History, Chen Cheng-Po Corpus Volume.3 Watercolor Sketch, Taipei, Taiwan, 2012 (illustrated, number WS323, p.363). Taiwan, 2012 (illustrated, number WS301, p.341). 198 456 457 SANYU 常 SANYU 常 ±CHANG YU, FRANCEÍCHINA, 1895²1966³ ±法國Í中國，1895²1966³ ±CHANG YU, FRANCEÍCHINA, 1895²1966³ ±法國Í中國，1895²1966³

Woman Writing 寫作中的女士 Woman Reading 中的女士 signed in Chinese and signed 'SANYU' (lower right) signed in Chinese and signed 'SANYU' (lower right) 水筆本水筆本 ink and charcoal on paper ink and charcoal on paper SANYU ( ) SANYU ( ) 43.5 x 27 cm. (17 ⅛ x 10 ⅝ in.) ：右 43.5 x 27 cm. (17 ⅛ x 10 ⅝ in.) ：右

HK$80,000160,000 來源 HK$80,000160,000 來源洲人收藏洲人收藏 US$11,00021,000 US$11,00021,000

PROVENANCE PROVENANCE 2015年《常描及水》著金會 2015年《常描及水》著金會 Private Collection, Asia (版自http:/www.artofsanyu.org/ 圖版, Private Collection, Asia (版自http:/www.artofsanyu.org/ 圖版, D2053) D3029) LITERATURE LITERATURE Rita Wong, The Li Ching Cultural and Educational Foundation, Sanyu Rita Wong, The Li Ching Cultural and Educational Foundation, Sanyu Catalogue Raisonne: Drawings and Watercolours, 2015 (Electronic Catalogue Raisonne: Drawings and Watercolours, 2015 (Electronic version retrieved version retrieved from http:/www.artofsanyu.org/ illustrated, plate D2053). from http:/www.artofsanyu.org/ illustrated, plate D3029). 200 ZAO Lot 407 1 Lot 459 2 3 WOU-KI 無

Ink wash paintings have been a constant part of overall tone and rhythm, then the touches of ancient Chinese relief carvings rubbings. In the 水無的創作生，源。1948 品上、家中用的上抹色，放地 1. Kuo Hsi, Old Trees, Level Distance (details), Northern Zao Wou-Ki's career, and his relationship with black and blue are used to add depth and layers fourth chamber of the Wu Liang Family Shrine 年到，他不成為中國的術家，畫。自他自地畫傳的，只 Song Dynasty, Collection of the National Palace them is profound and extensive. When he first to the painting. The effect of the diffusion is a is the Picture of He Kui, Cheng Ying, and Liuxia Museum, Taipei, Taiwan 時下水。到一九一年，他中國，地抹抹，在以的上抹，抹一些色平(局) 國故宮物藏 arrived in Paris in 1948, he did not want to be sense of ancient sombreness as well as fluidity, Hui -- Carrying Provisions , in which none of 水，平和的創作情，他沒有義的。這種自主地畫的， 2. Anonymous, Five Dynasties period, Herd of Deer in typecast as a "Chinese-influenced" artist, so he calling to mind the beauty in Herd of Deer in a the characters is presented representationally, 繪畫的。在他到達後。 a Maple Grove, Five Dynasties, Collection of the temporarily stepped away from ink wash works Maple Grove by an anonymous Five Dynasties- drawn simply with clean lines, and that National Palace Museum, Taipei, Taiwan 無題(品458)作於一九九年，為他無題(航)(品461)作於一九五一 until 1971, when he returned to China and also era artist, and fully showing Zao's control over minimalist style fully reflected in Untitled (Lot 五名國故宮物藏水後年，表了高超的技，以方年。畫中上方依見的船，船 the art form. In that period he found tranquillity the paintbrush and skilfulness with Chinese 600) and Untitled (Lot 601). These fine and 3. Zhao Ji, Thousand Character Classic in Cursive Script, 入方情。以、、、擦、隻打在水上的、浪花的。細而銳的 Northern Song Dynasty, Liaoning Provincial Museum, and rekindled a new creative passion for ink calligraphic techniques. This impression of strong lines came into their own during Zao's 盡地佔據畫面下方的各個，風起，，出事物的神。這種 Liaoning, China wash pieces, and rediscovered his desire to limitless layers created with simple colours Klee period. Among the geometric shapes and 中國物藏然而半的黑色其。無的有能源於無對的愛。武 paint. reminds one of Joseph Turner's Lausanne From straight lines in Untitled (Lot 459), one catches 題主要以、石、的水第畫石程畫中，人物 the West, which uses simple watercolours to hints of people and cities. These 'symbols" are Untitled (Lot 458) was painted in 1979, a few 、等等，由細到大揮，神，，，全都 construct a peaceful landscape. Zao first used not representational shapes, rather they are a years after he resumed painting ink wash works, 起畫面下方的張，，中手在無題(品600)、無題(品 watercolour to trace outlines, and followed result of the artist flexibly arranging lines and and reveals his practiced mastery, incorporating 為放，自由奔放地，與 601)。這種細而的，在無的 up with casual freehand diffusion, to create a shapes to explore how to develop space through Western media into Eastern sentiments. Each 色平描繪的爭，的、時期大放。無題(品459)幾圖 scene that is tranquil and expansive in equal symbolism. Each raw and simple symbols hatch, crosshatch, brush, wash, scumbling, and 、、不見，爭奇鬥而平色，、的，圖人、 measure. This ephemerality originating from the coexist and finally achieve a state of oneness. stippling fill the lower part of the canvas, which 有。的。這些要表現的物體， might be chaotic and overwhelming, but the 70s opened up and enabled the artist's sense In the 60s, Zao's works became even more 無題讓觀者以一無以中國畫技而是讓術家動地、，以 translucent black takes away just enough of of "vacantness" in his works, using the Western flexible, and pure abstract lines dominated his 法用水，大膽而用，完示了中國水空間。一個個始而白的 that to maintain clarity. Untitled features layered watercolour medium to construct a fusion of canvas. The composition in Untitled (Lot 460) 的水章而五的術，最終達至主兩的妙境。時至年 crosshatching of mustard yellow, sapphire blue, East-West aesthetics. is a perfect example of his work in that era, the 。作品以一種主要色的色，氏作品入更大的，而的 and a pastel orange-brown in small strokes and The artist's proficiency and control in calligraphy conflict developing from the centre of the scene ，幅畫的節，施以黑色和色的主了畫面的主。無題(品460)的 bold brushes to develop tension in the lower and painting was developed over decades of and explode with unbounded tension, and the ，畫面的層次。作品的息，流構圖為年作品之型，由畫面中發 parts of the scene, and that lower part is filled practice, the works in this auction span across strength and abstract quality within reminding 順，五人名風，盡見出無張，當中的、精神人聯到 with strength. In the mid-section the artist's the 50s to the 70s, and are testaments to his one of Emperor Huizong of Song's impassioned 術家行色的功、的法技法。這種的。法生 wrist can be seen to relax, and throughout the growth. From the age of five, he would colour Thousand Character Classic in Cursive Script . 色而層次無的印，不人聯到的動，要到畫面中一空間。 rest of the piece the lines are unbridled and and doodle on works in art albums and the The calligraphic lines create powerful resonance, 以，以水色，作品的節們以到術家當時 free, not unlike the depiction of rugged old trees family china; as early as then, he instinctively and seem to spread towards every square inch of 的水景。氏以水明地空間景，出中國水的 in Kuo Hsi's Old Trees, Level Distance – each resisted the bondage of the orthodoxy in the canvas. ，出的境。這種年出現，和方的水和方性高的水 stroke demonstrate their uniqueness without painting or calligraphy, and just wanted to From the rhyme and rhythm of the work 的，了術家畫面中空的境，，合情，達到法國家馬所 creating confusion, showing off their brilliance paint freely, on medium beyond paper, tracing we can imagine how the artist deftly and 以方的水，構行的情。兩個的合的中國人， without detracting from each other, creating "meaningless" lines. This self-initiated pursuit nimbly adjusted the composition, depth, 中國的中國人。 structure and order that is pleasing to the eye. of a new style only intensified after his arrival to and perspective, to create the air of Chinese 術家對畫技法、的就朝而成，本次上的作品五年到年， Untitled gives viewers a glimpse of how Paris. landscape paintings while combining it with 見他的發歷程。五時，他就在畫的作 Zao uses Chinese calligraphy and painting Sailing Boats (Lot 461) was finished in 1951. On the clarity of Western watercolours and the techniques with watercolours, boldly and deftly, the canvas one sees the vague silhouette of a flexibility of Eastern ink wash paintings. This perfectly showcasing the unique aesthetics boat, traced in clean lines like its reflection on combination of Eastern and Western aesthetics of "layered diffusion" and "colours through the water and the breaking waves. It only takes thus achieves what the French critic Marceau monochrome" in traditional Chinese ink wash Zao a few sharp and intricate lines to depict the put as "the fusion of two unique worlds" – a paintings. The work relies on its primary colour quintessence of the subjects. These austere and "Chinese man of Paris, and of China." – the varying shades of yellow – to set the noble lines may be traced back to Zao's love of

202 PROPERTY FROM AN IMPORTANT ASIAN PRIVATE COLLECTION 洲重要人收藏

458 ZAO WOU²KI ±ZHAO WUJI, FRANCEÍCHINA, 1920²2013³ Untitled

signed in Chinese, signed 'Zao' and dated '79' (lower right) watercolour on paper 58 x 78 cm. (22 ⅞ x 30 ¾ in.) Painted in 1979

HK$1,800,0003,000,000 US$240,000380,000

PROVENANCE Anon. Sale, Sotheby's Paris, 7 June 2017, Lot 124 Private Collection, Asia (acquired from the above sale by the present owner) This work is accompanied by a certiﬁcate of authenticity issued by the Foundation Zao Wou-Ki. This work is referenced in the archive of the Foundation Zao Wou-Ki and will be included in the artist's forthcoming catalogue raisonne prepared by Francoise Marquet and Yann Hendgen (Information provided by Foundation Zao Wou-Ki).

無 ±法國Í中國，1920 ² 2013³

無題

水本 1979年作 : 無 Zao 79 (右)

來源 2017 年6月7日蘇富巴 124 洲人收藏 (藏者自上) 此作品無金會發之此作品記在無金會之，將收於．及．根正備的《無作品年》(由無金會)

Joseph Mallord William Turner R.A., Lausanne From the West, watercolour on paper 馬德以水本

204 459

ZAO WOU²KI 無 ±ZHAO WUJI, FRANCEÍCHINA, 1920²2013³ ±法國Í中國，1920²2013³

Untitled 無題 signed in Chinese, signed 'ZAO' and dated '54' (lower right)

ink and watercolour on paper 水水本 460 20 x 27 cm. (7 ⅞ x 10 ⅝ in.) 1954年作：無ZAO 54 (右) Painted in 1954 ZAO WOU²KI 無 HK$550,000750,000 ±ZHAO WUJI, FRANCEÍCHINA, 1920²2013³ ±法國Í中國，1920²2013³ US$71,00096,000 Untitled 無題 PROVENANCE 來源 signed in Chinese, signed and dated 'ZAO 61' (lower right) 水本 Private collection, USA 美國人收藏 ink on paper 1961年作 Anon. Sale, Christie's Hong Kong, 23 November 2014, Lot 150 2014年11月23日士得品150 45 x 53.3 cm. (17 ¾ x 21 in.) Painted in 1961 ：無ZAO 61 (右) Acquired from the above sale by the present owner 藏者自上 This work is accompanied by a certificate of authenticity issued by the 此作品無金會於2011年8月25日發之 HK$280,000480,000 Fondation , dated 25 August 2011. 此作品經無金會 The authenticity of the artwork has been confirmed by the Fondation Zao US$36,00062,000 Wou-Ki. 2015年「無水水」畫廊 PROVENANCE 來源 EXHIBITED Collection of Georges Boudaille, Paris (acquired directly from 法國巴喬治．大藏 Hong Kong, de Sarthe Gallery, Zao Wou-Ki Ink and Watercolour, 2015 the artist) (得自藝術家本人) 2015年《無水水》(圖) 畫廊 Acquired from the above by the present owner in 1990 藏家於1990年自上收藏 (圖版，14) LITERATURE The authenticity of the artwork has been confirmed by the 此作品經無金會 de Sarthe Gallery, Zao Wou-Ki Ink and Watercolour, (exh. cat.), Hong Kong, Fondation Zao Wou-Ki. 2015 (illustrated p. 14)

206 CHU TEH-CHUN

Lot 462 Detail 局 1

1955年，巴，了自新的藝術方令大有，發他的出其的。畫面圖初之。他受眾多新印象和象藝術家發，在性。在《無題》中，藝術家運用有的方手法，以厚重的白來造中國畫大膽入象世。著重於和筆，的和大自然的，中白之。其筆法運用屬方，景的造，用自由的筆法大自然的的．塔的《拉松》相中厚的筆以筆畫，令人。過別來自1960年、1964年及1980年的。．塔以格的圖在表面筆的風雪之象作品《拔大三幅作品，們得以藝術家方象理成的深，以有的筆山》。本作品中的動筆在東方精神的詩世。大自然變的，其藝術中藏的中國表面上造出方象畫作的，其細心精神。的圖、變化多的筆和之平卻《無題》(品464)早期對造有著中國水的神。《28.12.1980》了、和的，對方藝術中國水《圖 198 之二》(品462)細膩動水畫及中方化的，成為之平的，還有他一對大自然的人，對筆法和圖的重要。景富有代表性的藝術。。在巴的五年收了許多方理的用筆和處的細相成，有中觀，此畫景中的筆畫國畫之風，造出富有詩的。藝術為自心的一面。東面一為二，歐洲景畫的圖，重和的動，以中國水的表出他大師、代象藝術家和中示出地平，見以中多的。國傳統畫家中得的多元，表了藝術自然景之。化的性。作品的在《28.12.1980》(品463)中，演變見了他一在國代藝術主中入《無題》之用表了拉．．的方象藝術中國水的動十和。中國傳統藝術觀的，此成屬於自的塔的藝術。他於1956年這幅作品以多角東方藝術之，覺。拉．．塔，其造和的雖然是一幅本作品，但厚的其

461 ZAO WOU²KI 無 ±ZHAO WUJI, FRANCEÍCHINA, 1920²2013³ ±法國Í中國, 1920²2013³

Untitled (Sailing Boats) 無題 () signed in Chinese, signed and dated 'ZAO 51' (lower right) 水本 ink on paper 1951 23.3 x 31.6 cm. (9 ⅛ x 12 ½ in.) 年作 1. Northern Song Dynasty, Guo Xi, Painted in 1951 : 無ZAO 51 (右) Nest of Rocks on Plain, hanging scroll, silk The Palace Museum, Beijing, China HK$200,000400,000 石平圖水本 US$26,00051,000 故宮物京中國 2. Nicolas de Stael, Marathon, oil on canvas, painted in 1948, Tate PROVENANCE 來源 Britain, London UK Private Collection, Europe 歐洲人收藏 Artwork: © 2018 Artists Rights Society (ARS), New York / ADAGP, The work is accompanied by a certiﬁcate of authenticity issued by the Fondation 此作品無金會於2016年5月13日發之 Paris Zao Wou-Ki on 13 May 2016. 此作品經無金會德爾馬 The authenticity of the artwork has been conﬁrmed by the Fondation Zao Wou-Ki. 畫布 1948年作術英國 208 Lot 464 Detail 局 2 In 1955, Chu Teh-Chun arrived at Paris to essence of nature. The use of simple colour brushstrokes embellished by orange strokes commence his new artistic journey. Inspired scheme connects with de Stael's Marathon. in the background recall Turner's depiction by vast number of neo-impressionist and Nonetheless, while de Stael used rigid of the dramatic snow storm in Snow Storm: abstract artists, Chu made his bold movement geometric to create a surface of alternating Hannibal and his Army Crossing the Alps . of stepping into the world of abstraction. depth, Chu masterfully applied organic The gestural marks in Le 28.12.1980 creates a Focusing on colour and light, Chu used his brushworks to capture the altering light in western abstract painting at the first glance. liberating brushworks to visualize the power the nature, visualized the glow of his Chinese Yet, the carefully planned composition and of nature. Through the three works created in soul at the early stage of his career. variation of brushstrokes as well as the 1960, 1964 and 1980, we could join Chu Teh Composition No. 198 bis (Lot 462) is an balanced between light and dark hints at the Chun and understand how he expanded his intimate work that illustrates Chu's important fluidity of Chinese painting. Le 28.12.1980 poetic universe and connected the western exploration in brushworks and composition. blurs the split between ink work and oil abstract concepts with his oriental spirit. The broad use of brush in the background and painting, between west and east and became Untitled (Lot 464) illustrates Chu Teh-Chun's the detailed lines in the foreground interplay one of the signature characters of Chu's early stage exploration in form, colour and with each other, recalling the aura of Chinese paintings. light, capturing his effort in finding balance painting and calligraphy and creates a poetic Chu Teh-Chun defines art as a mirror of between western art and Chinese paintings sense of space. Chu also varies the saturation his true inner self. The combination of west and his life-long dedication in finding and transparency, applying techniques in and east not only reflects the international inspiration from nature. Spending five years Chinese painting to generate a fluid space inspirations he sought out of old masters, in Paris, western perception had a significant with multiple dimensions. modern abstract artists and Chinese influence on Chu. The bold horizontal brush in In Le 28.12.1980 (Lot 463), the seemingly traditional painters, but also hints at the the background divided the small canvas into separate western abstract art and Chinese possibilities of cross-cultural communication two, recalling the composition of expansive painting interact with each other in a more through art. The gradual development in European panorama paintings. This powerful harmonious way. This piece is truly unique in Chu's works represents his lifelong passion gesture marks the horizon, displaying Chu's a way it transgresses the boundary between in incorporating the language of Chinese attempt to use simple stroke to capture the western and eastern art through multiple traditional art into the central stream of complexity of nature landscape. perspectives. Though painted on paper, the global modern art, generating a new branch The use of colour in Untitled also presents dense use of paint recalls the texture of of aesthetic. Chu Teh Chun's artistic conversation with his oil paintings. Furthermore, the overall Nicolas de Stael. He encountered Nicolas composition is also more western at the de Stael in the spring of 1956. De Stael's first glance. Unlike Chinese paintings where empirical practice of connecting forms and artists apply empty blanks to emphasize the colours touched Chu and inspired him to poetic dimension of nature. Le 28.12.1980 seek for the potential possibilities of paint. In instead, uses thick layers of white to generate Untitled, the artist used organic brushstrokes a similar effect. The movement of brushwork to capture the rhythm of light and the is also more western. The thick brown

462 CHU TEH²CHUN ±ZHU DEQUN, FRANCEÍCHINA, 1920²2014³ ±法國Í中國，1920²2014³

Composition No. 198 bis 圖 198 之二 signed in Chinese, signed, dated and titled 'CHU TEH-CHUN 水水本 1964 No. 198 bis' (on the reverse) 1964 gouache and watercolour on paper 年作 37.5 x 53.2 cm. (14 ¾ x 21 in.) ：CHU TEH-CHUN 1964 No. 198 bis (畫) Painted in 1964 來源 HK$350,000550,000 前藏家自藝術家 US$45,00070,000 由前藏者家屬收藏此作品經日金會 PROVENANCE Acquired directly from the artist by the previous owner Lot 463 J.M.W. Turner Snow Storm: Hannibal and his Army Crossing the Alps. oil on canvas, 1812, Tate Britain, London, UK Thence by descent to the present owner J.M.W. 領大軍爾畫布 1812年作術英國 The authenticity of the artwork has been conﬁrmed by Fondation Chu Teh-Chun, Geneva.

210 463 464 CHU TEH²CHUN CHU TEH²CHUN ±ZHU DEQUN, FRANCEÍCHINA, 1920²2014³ ±法國Í中國，1920²2014³ ±ZHU DEQUN, FRANCEÍCHINA, 1920²2014³ ±中國Í法國，1920²2014³

Le 28.12.1980 28.12.1980 Untitled 無題 signed in Chinese; signed and titled 'CHU TEH-CHUN. le 28.12.1980.' signed in Chinese and signed 'CHU TEH-CHUN' (lower right); 水本畫 (lower right); Galerie Kutter label affixed to the reverse of the frame inscribed 'Pour Lisa et Pierre avec toutes mes Amitiés', signed in 1980 1960年作 gouache on paper 年作 Chinese and signed 'CHU TEH-CHUN'(on the reverse) 50 x 65 cm. (19 ¼⁄¾ x 25 ½ in.) CHU TEH-CHUN. le 28.12.1980. (右) ； oil on canvas ： CHU TEH-CHUN (右) ; Pour Lisa et Painted in 1980 Kutter 畫廊於畫 24 x 19 cm. (9 ½ x 7 ½ in.) Pierre avec toutes mes Amitiés CHU TEH- Painted in 1960 CHUN (畫) HK$400,000500,000 HK$400,000600,000 US$52,00064,000 來源 US$52,00077,000 洲人收藏 PROVENANCE 來源此作品景昭女士發之 Private Collection, Europe 歐洲人收藏 PROVENANCE 此作品經日金會 The work is accompanied by a certificate of authenticity signed by Mrs. Chu 此畫作景昭女士於2015年10月9日發之 Private Collection, Asia Ching-Chao on 9 October 2015. 此作品經日金會 The work is accompanied by a certificate of authenticity signed by Mrs. The authenticity of the artwork has been confirmed by Fondation Chu Teh- Chu Ching-Chao. Chun, Geneva. The authenticity of the artwork has been confirmed by Fondation Chu Teh-Chun, Geneva. 212 TING YIN-YUNG

In 1929, at an invitation to establish the for enlightenment from the Indigenous Guangzhou Municipal Museum, the "foreign- cultures of Africa and Oceania, when Ting had returned" artist was greatly inspired by the cast his gaze back to China's ancient heritage, Chinese antiquities that he had come to by studying the inscriptions of oracle bones know. Twenty years after, due to political and bronze. Out of Ting's oil paintings that unrest, Ding fled to Hong Kong as a refugee; scarcely appear on the market, Civilization is undeterred by extreme hardship, he would one of the rarest to feature the unique objects scrape up all his savings to acquire paintings, in his precious collection. Guiding us through calligraphy, ancient seals, bronze vessels and the mysterious realm of oriental culture, Ting ceramic figurines. These objects have served Yanyong's fluid brushwork and bold expression as a source of inspiration to his paintings. would overwhelm the most reserved viewers. Civilization was presented at his first solo exhibition in Hong Kong, indicating the significance of collecting Chinese antiques has had on Ting. Civilization demonstrates the vigorous lines and contrasting colours that are Fauvist hallmarks; with the candour of simple strokes, the artist was able to enlighten us with the "endless complexity of mankind". The oracle Lot 466 Detail 局 bone and ancient seal are depicted in harsh Drawing from the oracle bone inscriptions and black outlines, while the background mainly seal carvings, the elements of oriental heritage consists of a sweep of blood red, an abstract had elevated Ting Yin-Yung to a stylistic patch of grey is visible on the left; by giving breakthrough in the 50s. Civilization (Lot 466) attention to the naïve qualities and sketch-like presents the two ethnological specimens most brushwork, the artist has contemplated on the revered by Ting Yin-Yung: the bone script and origin of ancient culture. Wittingly, the overlaid ancient seal. To Ting, ancient writings are colours of the rock and the turtle plastron contained with stories on the rise of Huaxia are mottled to present a sense of history. civilization, whereas, ancient relics create anew Underlying the vast historical context implied the discourse of a mysterious ancient past. As by the ancient artefacts, a subtle embodiment he once said, of Ting's personal is hidden in the image: the 465 tiger on the turtle's shell, which is his sign of "The remarks of inscription resemble the the Chinese zodiac, is in fact Ting Yanyong's 曾 impressions of drawing, they are eternally alias, Ding Hu. T'ANG HAYWEN Pablo Picasso, Goat Skull and Bottle, 1951, Museum of powerful at once imbued with endless ±TANG THIEN PHUOC HAYWEN, ZENG HAIWEN, ±中國，1927²1991³ For Pablo Picasso and Paul Gauguin, the Modern Art, New York, USA ·頭與子 1951年作國 substance and liveliness." understanding of primitivism meant seeking CHINA, 1927²1991³ 現術藏無題 Untitled 水 Kyro (雙聯作) ink on Kyro card, diptych each: 70 x 50 cm. (27 ½ x 19 ⅝ in.) overall: 70 x 100 cm. (27 ½ x 39 ⅜ in.) 來源法國巴人收藏 (自藝術家) HK$80,000160,000 此作品將收於由曾及獨 US$11,00021,000 正在的《曾作品》中，為 S22-LDI-5

PROVENANCE Private Collection, Paris, France (acquired directly from the artist) This work will be included in the forthcoming catalogue raisonné of T'ang Haywen now in preparation by T'ang Haywen Archives and Mr. Philippe Koutouzis under the number: S22-LDI-5.

Pablo Picasso, Goat's Head, 1952 Oracle Bone Script, Collection of the Palace Ting Yin-Yung Seal Carving ·，頭，1952年作 Museum, Beijing, China 自印中國京故宮物藏

214 466 TING YIN²YUNG ±DING YANYONG, CHINA, 1902²1978³ ±中國, 1902²1978³

Civilization 原 signed 'Y. Ting'; dated '44' (44th year of the Republic era, corresponding to 本 1955) (lower right) 1955 oil on board 年作 60.2 x 45.5 cm. (23 ¾ x 17 ⅞ in.) ：Y. Ting 44 (右) Painted in 1955

HK$3,000,0004,000,000 US$390,000510,000

PROVENANCE 來源 Collection of the artist's family 藝術家家屬藏

EXHIBITED 2003年8月5日-9月21日「象之美：的畫藝術」國 Aesthetic Images of Ding Yanyong's Paintings, National History Museum, Taipei, 5 August – 21 September 2003. 2009年11月10日 – 2010年2月10日「藝術回」 A Retrospective Exhibition of Ding Yanyong's Art, The Hong Kong Museum of Art, 藝術中國 Hong Kong, China, 10 November 2009 – 10 February 2010. 2009年11月12日 - 2010年3月1日「藝術回」 A Retrospective Exhibition of Ding Yanyong's Art, The Guangzhou Museum of Art, 廣藝術院廣中國 Guangzhou, China, 12 November 2009 – 1 March 2010.

LITERATURE 2003年《象之美：的畫藝術》國 Aesthetic Images of Ding Yanyong's Paintings, National History Museum, Taipei, (圖版，19及26 ) 2003 (illustrated, p. 19 & 26). 2009年《藝術回》美術出版廣中國 A Retrospective Literature of Ding Yanyong's Art, Lingnan Art Publisher, Guangzhou, (圖版，442) China, 2009 (illustrated, p. 442). 2009年《藝術回》(圖) 廣藝術院、 A Retrospective Exhibition of Ding Yanyong's Art, exh. cat., edited by The Guangzhou 中大學、藝術美術出版 Museum of Art, The Art Museum, The Chinese University of Hong Kong and The 廣中國 (圖版，55) Hong Kong Museum of Art, published by Lingnan Art Publisher, Guangzhou, China, 2009 (illustrated, p. 55).

將骨和刻東方原化入畫，是印、、，為他的作入源源的景，中藏了代表性的五十年代為重要的畫新。《原》的。在的中，出了這人元：上刻畫的，來源於的 (品466)中，表了其為推的《原》，見代作為來初年的精，是其所用之一。：骨和代印。對，神對其的重要。．和的原主主要來源象著的根源，代承在《原》中，觀者以受於洲和大洲化，以其對骨著造對的神。他描：的「」的，以及所出、金石刻的描，了化的根「那種印畫的，的，藏「廣大」的。石以的源。在世的來畫作品中，《無的，的神韻。」，景以大筆，畫面左原》是為見以畫方 1929年廣的遇，作為「卻出了象的，筆法和圖兒源的作品。以天、的畫風刻畫出」的為中國代藝術所深深。以至畫天，卻了人之源的深刻的厚重，將觀者入原東方的神 20年政，身，獨題。地以的和筆出。之中，他將的有用於收藏畫、和石的和。然在大

216 SHIY DE-JINN

Lot 468 Detail 1

德於1923年出生於川，1948年於州 Born in Sichuan in 1923, Shiy De-Jinn the viewer's emotions and spirit. Fauve artist 國，師風，由此其方， graduated from National Hangzhou School Kees van Dongen used bold, fresh, intense 始方繪畫理。於50年期， of Art in 1948, where he was instructed by color in his portrait of a nobleman's wife; Shiy's 德受馬，對色有了的。至 Lin Fengmian. While there he both enhanced attention to color shows especially in the face 1954年，他始畫，用強的色表 knowledge of his Eastern heritage and came and skin of his subject, where pure red and 現，背景多以對比色處理。1958年，德對 into contact with Western painting theory. the mingling of light blue and green bring out 術生，術和術。 In the early 1950s, influenced by Matisse, the quality of her fair white skin. The artist's 而這繪於1960年的伊(Lot 468) Shi Dejin gained new insight into color; in depiction is detailed in other respects too. 為德經驗技法的創作後，結 1954 he began studying portrait painting, She wears a long, sapphire-blue gown and a 繪畫的精之作。 typically using an intense primary color set thin lace scarf draped across her shoulders. against a background in the complementary The portrait conveys her graceful manner and 在伊中，德以的精 color. By 1958, Shiy had developed a powerful style as she sits comfortably on a striking 地刷出背景，不同的色水、 interest in abstract art, and he explored both red and blue chair, highlighting her elegant 、和色，以於畫面的幾 Hard Edge and Op Art styles. This Portrait of and aristocratic bearing even in a casual and 抹和，成層次感的空間，而其畫面 Evelyn (Lot 468), painted in 1960, is a striking relaxed pose. 的理則李後期以抹和來顯作品不 work from the period following Shiy De-jinn's 同層次理的。 Evelyn M. Delanoy (1923 – 2015) was born in experimentation with abstract techniques. Kingston, New York. Her husband, Charles 由於德術的感性層面個性精神的 In Portrait of Evelyn , Shiy employs various W. Delanoy (1916-1999) was a colonel in the 發，因此在描繪人物的技巧上，不於型之 shades of blue in the background blue lake, US Air Force and from 1975-1978 was mayor ，更神型觀者的感性。獸派 sapphire blue, peacock blue, and indigo of Satellite Beach, Florida. His service in the 畫家(Kees van Dongen)以大膽、 laying on both vertical and horizontal strokes Air Force meant that the couple traveled to 467 明的強色描繪的婦人，而德對 with his refined brushwork. A few touches of many parts of the world. This portrait was 色的高用則表現在畫中人物的和的 orange-yellow and fresh violet near the borders made when he was stationed in Taiwan and 描繪，畫面中、與色現畫中主角的 SHIY DE²JINN further add a sense of layered space. The Evelyn commissioned Shiy De-Jinn to paint her 白。術家對人物有細的描，她身 ±中國，1923²1981³ surface textures of Shiy's portrait suggests portrait. ±XI DEJIN, CHINA, 1923²1981³ 一色長身，一的 some of the later work of Gerhard Richter, 在上，自地坐在一張的子 Da¤odil 水花 whose rubbing and scraping techniques 上，顯畫中人物的風與高的體以 signed in Chinese and dated '1980' (lower left) revealed blurred and striated layers of color. 水本之姿，呈現伊士的風。 watercolour on paper 1980 Shiy De-Jinn attached great importance to 54 x 74 cm. (21 ¼ x 29 ⅛ in.) 年作伊士 (Evelyn M. Delanoy, 1923 - 2015) 生 the emotional aspects of painting, and to Painted in 1980 ： 1980 (左) 於國，爾·德(Charles 1. Kees van Dongen (1877–1968), Maria, oil on canvas, expressing the spirit of the individual. Thus W. Delanoy, 1916-1999)國空軍上於 painted in 1907-1910, Collection of The Metropolitan his techniques for depicting people were not Museum of Art, New York HK$200,000300,000 1975-1978年間達州海長。 limited to just beauty of form and modeling, Robert Lehman Collection, 1975 © 2018 Artists 在空軍期間，婦二人因作因而歷 Rights Society (ARS), New York US$26,00038,000 but included attention to those aspects of 各地，而此幅作品則是在期間，伊畫布1907-1910年作 their charm, grace, or style that directly touch 國大都術物藏 PROVENANCE 來源士德繪畫的精品。 Private Collection, Asia 洲人收藏

218 468 SHIY DE²JINN ±XI DEJIN, CHINA, 1923²1981³ ±中國，1923²1981³ Portrait of Evelyn 伊夫

signed in Chinese and dated '1960' (upper right); signed 畫 'Shiy De Jinn' (lower right) 1960年作 oil on canvas 98.5 x 71.3 cm. (38 ¾ x 28 ⅛ in.) ：1960 (右上)；Shiy De Jinn (右) Painted in 1960

HK$1,500,0002,500,000 US$200,000320,000

PROVENANCE 來源 Acquired directly from the artist and thence by descent to the 得自藝術家本人，此由前藏家家屬收藏 previous owner 美國人收藏 Private Collection, USA

"A good portrait painter can penetrate your mind, grasp your character, express your habits, and paint the expressions of which you yourself are unaware. An experienced portrait painter, like an expert face reader or fortune teller, will use brush and pigments to speak of your life's experiences and encounters." SHIY DE¬JINN

的畫家能的，的性，表現的性，畫藏著的不自神情。一個有經驗的畫家，一家，者，他用，出在人生中的經歷與遭遇。

Gerhard Richter, Abstraktes Bild, oil on canvas, painted in 1994 Anon. Sale, Christie's London, 14 Feburary 2012, Lot 25, Sold for 9,897,250 GBP. Artwork: © Gerhard Richter 2018 李畫畫布 1994年作士 2012年 2月14日 25 成 9,897,250 英

220 469 ZENZABURO KOJIMA 三郎 ±JAPANESE, 1893²1962³ ±日本，1893²1962³

Red Background 景

signed 'Z. Z. Kojima' (upper left) 畫 oil on canvas 1928-1929年作 78.5 x 114.3 cm. (30 ⅞ x 45 in.) Painted in 1928-1929 ：Z. Z. Kojima (左上)

HK$700,000900,000 US$90,000120,000

PROVENANCE 來源 Private Collection, Japan 日本人收藏

EXHIBITED 「一回獨美術會」() 1931年東美術東日 The First Dokuritsu Exhibition, (travelling exhibition), 1931, Tokyo, Japan, Tokyo 本；大阪日本；日本；岡日本；名屋日本； Metropolitan Art Museum; Osaka, Japan; Kyoto, Japan; Fukuoka, Japan; Nagoya, 1972年「三郎」日本高屋東日本 Japan; Taipei, Taiwan. 1976年11月4日-12月5日「三郎」岡化會岡日本 Tokyo, Japan, Nihonbashi Takashimaya, Exhibition of Zenzaburo Kojima, 1972. 「三郎100年紀」() 1993年7月14日-8月8日 Fukuoka, Japan, Fukuoka ken Bukakaikan, Zenzaburo Kojima Exhibition, 14 岡美術岡日本；1993年8月20日-9月12日美 November - 05 December 1976. 術日本；1993年9月18日-10月31日代美術日 Zenzaburo Kojima Centennial Memorial Exhibition, (travelling exhibition), 14 July- 本；1994年1月4日-2月6日三重美術三重日本 8 August 1993, Fukuoka, Japan, Fukuoka Art Museum; 20 August-12 September 1998年10月6日-11月23日「三郎特」松美術東日本 1993, Chiba, Japan, Chiba Sogo Department Store; 18 September-31 October 2017年10月7日-2018年1月7日「日本代畫大」師美術 1993, Ibaraki, Japan, The Museum of Modern Art Ibaraki; 4 January-6 February 1994, Mie, Japan, Mie Prefecture Art Museum. Tokyo, Japan, Shoto Museum of Art, Special Exhibition - Zenzaburo Kojima, 6 October - 23 November 1998. 1931年《朝日報時獨》朝日新東日本 (圖版， Taipei, Taiwan, Museum of National Taipei University of Education, Yōga: Modern 12) Western Paintings of Japan, 7 October 2017 - 7 January 2018. 1972年《三郎》日本高屋東日本 (圖版，11圖，無) LITERATURE 1976年《三郎》岡化會岡日本 (白圖版， Asahi Shimbun Publication Inc., Asahi Graph Temporary Supplement, Tokyo, 12圖，無) Japan, 1931 (illustrated, p. 13). 1980年《代美術59 - 三郎特》至堂東日本 Nihonbashi Takashimaya, Exhibition of Zenzaburo Kojima, Tokyo, Japan, 1972 (白圖版，36圖，無) (illustrated, plate 11, unpaged). 1993年《三郎100年紀》岡美術岡日本 Fukuoka ken Bukakaikan, Zenzaburo Kojima Exhibition, Fukuoka, Japan, 1976 (圖版，52圖，72；白圖版，52圖，229) (illustrated in black & white, plate 12, unpaged). 1998年《三郎 - 日本畫的造者》松美術東日本 Shibundo, Modern Art 59 Zenzaburo Kojima, Tokyo, Japan, 1980 (illustrated in (圖版，30圖，54) black & white, plate 36, unpaged). 2012年《三郎畫》「三郎」畫行會東 Fukuoka Art Museum, Zenzaburo Kojima Centennial Memorial Exhibition, 日本 (圖版，148圖，21) Fukuoka, Japan, 1993 (illustrated, plate 52, p.72; illustrated in black & white, plate 2012年《三郎作品》「三郎」畫行會東日本 52, p. 229). (圖版，126) The Shoto Museum of Art, Zenzaburo Kojima - Creator of the Japanese Oil 2017年《日本代畫大》師美術 (圖版，37圖， Painting, Tokyo, Japan, 1998 (illustrated, plate 30, p. 54). 142) Committee to Publish Works of Zenzaburo Kojima c/o Gallery Kojima, Catalogue Raisonné of the Oil Painting Works of Zenzaburo Kojima, Tokyo, Japan, 2012 (illustrated, plate 148, p. 21). Committee to Publish Works of Zenzaburo Kojima c/o Gallery Kojima, Zenzaburo Kojima - Selected Works, Tokyo, Japan, 2012 (illustrated, p.126). Museum of National Taipei University of Education, Modern Western Paintings of Japan, Taipei, Taiwan, 2017 (illustrated, plate 37, p. 142).

222 児島善三郎1893年生於日本福岡，年輕時，立志圖，並訓練畫面中的立體感。30年代，歸國幾年統浮世繪的對比色美學與西方野獸派的明亮用色當畫家的他從醫學院退學，來到東京自學西畫。後的児島因缺少模特兒，加上個人風格的轉向，相互糅合，鮮綠色的沙發及色彩斑斕的靠枕與紅 1925年至1928年，児島旅居法國巴黎，期間遍他逐漸停止了該類題材的創作。裸女畫的稀缺性色的背景產生鮮明的撞色對比，營造了一種活潑訪羅馬、佛羅倫斯、倫敦、馬德里等歐洲文化重及突出的風格使該系列成為児島最具標誌性的作氛圍，與常見靜謐的裸女畫截然不同。鎮，深受古希腊羅馬時期古典雕塑影響，奠定他品。《紅色背景》誕生近九十年以來，代表児島善三日後建立在寫實風格上的基礎。在眾多亞洲現代創作於1928至1929年間的《紅色背景》(拍品編郎參與多個展覽，足跡遍布亞洲多地，彰顯出児藝術先驅中，児島是一位特點鮮明的人物，其自號469)，是児島善三郎從歐洲返日後所作的一島在日本現代美術史中的不朽地位，也佐證了藝學的經歷使他無需背負傳統的包袱或轉向全盤西件極為典型的裸女作品。畫面中，一位裸女躺臥術家對日本藝術發展的彌足影響。化，以傳統為鑒卻不拘泥於傳統，融合東西審於沙發之中，雙手環胸，頭部微微側傾，慵懶的美，發展出個人獨創的藝術風格。雙眼直視觀者，在簡潔又深邃的紅色背景烘托之縱覽児島善三郎的創作，其中裸女畫不到30幅，下，整幅畫面充滿著具有挑動性的緊張感。人物數量遠少於他的風景和靜物作品。大多數的裸女造型方面，児島善三郎加重了塊面的描摹，為人畫均創作於1928至1930年間，即其旅法生涯的體賦予了有如古典雕塑般的厚重意象，立體而生 Katsushika Hokusai, Fine Wind, Clear Weather (Gaifu kaisei), also known as André Derain, Charing Cross Bridge, London, 1906, National Gallery of Art, 尾端及歸國初期，其時，児島借畫女體來練習構動。而在顏色運用上，藝術家則巧妙地將日本傳 Red Fuji, circa. 1830-31, woodblock print (Lot 490) Washington, DC. Artwork: © 2018 Artists Rights Society (ARS), New York / 葛飾北齋<凱風快晴> 約1830-31年作木刻版畫 (拍品編號490) ADAGP, Paris 安德烈·德朗《倫敦的查林十字橋》1906年作國家美術館華盛頓美國

ZENZABURO KOJIMA 児島善三郎

Zenzaburo Kojima was born in Fukuoka in turned to other subjects. The nudes have 1893, at his prime, aspiring to be an artist he become of Kojima's most significant series, for had left medical school for Tokyo, and resorted their rarity and exceptional sagacity. to a self-exploration in painting. From 1925 to Created between 1928 and 1929, the painting 1928, Kojima was meandering through Paris, Red Background (Lot 469) epitomizes the Florence, London and Madrid, as he embraced stylistic breakthrough of Kojima's nude period. the historical art of European precedents, In the picture, a woman reclines on the sofa where the colossal Roman and Greek marble with her arms folding around her breasts, statues would cultivate to his realist approach. her head tilts to the side, as she unravels in a Among the many pioneers of modern art in sleepy gaze; sensuality is further accentuated Asia, Kojima stands out in a striking manner by a background of brilliant red, as the whole - as an autodidact, he did not indulge the composition engenders insatiable tension burden of tradition or follow the course of in the painting. Kojima reflected on his early Westernization. Tradition was there to serve exploration of classical sculpture, using an but not to restrict, and Kojima's style emerged accretion of short strokes to build up a strong from both Eastern and Western aesthetic sense of mass and weight. While fusing with points of view. the special handling of space in Ukiyo-e Notably, there are less than 30 nudes in prints, the vibrant contrast also recalls to the his oeuvre, far fewer than the number of European Fauvist; the bright green on the sofa, landscapes and still lifes. They were mainly complimented by colourful pillows, jumps from produced from 1928 to 1930; at the end the flaring wall, together creating in a visual of his stay in Paris before returning home, tension ever so lively, that is rare to be found in subsequent to this period of academic training nude paintings. he began to paint nudes, as a means of Since Red Background was created ninety learning fundamental compositions in western years ago, it has been widely exhibited in Asia. painting, with a focus on the expression of The work implies that Zenzaburo Kojima was dimensionality. In the 30s, he stopped painting Alexandros, Vénus de Milo (details), circa. 130-100 BC, set to establish oil painting that is distinctively Louvre Museum, Paris, France nudes back in Japan, due to the lack of life Japanese, proving himself to be an influential 亞歷山德羅斯《米洛的維納斯》(局部)公元前約130-100年作 models and a change in style, he gradually figure in the Japanese art sphere. 法國巴黎羅浮宮

Lot 469 Detail 局部

224 470 LUO ZHONGLI 中 ±CHINA, B. 1948³ ±中國，1948年生³ A Frightened Dream 驚

signed 'Luo Zhongli 1991', signed in Chinese (lower left); 畫 signed and titled in Chinese (on the reverse) 1991年作 oil on canvas 96 x 127 cm. (37 ¾ x 50 in.) ：Luo Zhongli 1991 (左)；《》中 (畫) Painted in 1991

HK$3,200,0004,200,000 US$420,000540,000

PROVENANCE 來源 Private Collection, Asia 洲人收藏

LITERATURE 1992年《大美術1-中》藝術家出版 Artist Publishing Co., Main Land Fine Arts Collection 1: Luo (圖版，78圖，124) Zhongli, Taipei, 1992 (illustrated, plate 78, p. 124).

中於其作早期在大巴山十年，為自是「中國之中在年代中期寫主，用的手」，且白地描為自身的。身為法中的動。《驚》(品 470)出的的中國藝術家之一，中過寫寫作品人們、充滿動的筆，以及人之的動，將村的人對於中國傳統化深的理，且觀眾清在於這世代的性表的。雖然覺上出為象的風格，但所的情會題。卻是為。畫面中年女正的觀望著的，所出的情對，觀眾：「深人時發了正在經這場《驚》的了一時刻，觀眾情的，著觀眾人性的角觀這，是他們為的者。

《驚》中人的對們得·蓋的作品《者》。在蓋的作品中，畫面中的於，卻自要入里。畫面中藏的性觀者情上作品相。

源在《驚》這幅作品中扮演著為重要的情推手。在一深景上的，有的著觀眾的目。的運用令人米的一幅作品《》。是米這幅作品的，者的動作情緒表。中的運用是。在《驚》中有一手藏在角一旁，約約的燈情緒的傳得安，這對年女望覆蓋住他們所的一。此所思的刻觀眾得以見大巴山所發出的人性情。

Pieter Bruegel the Elder, The Peasant and the Nest Robber, painted in 1568, oil on panel, Kunsthistorisches Museum, Vienna, Austria 爾與者畫、板 1568年作也術物藏也地

226 Spending a decade in Daba mountain during the young couple, along with the cat in the the dark blue background efficiently grasps his early career, Luo Zhongli identifies background, surprisingly stare at the infant viewer's attention. The vibrant use of color himself as "the son of Chinese peasants" who is soundly asleep. This strong emotional reminds us of the last work of Jean-François and believes his duty is to illustrate the contrast makes viewers to wonder: what Millet, The Bird Nesters. In this painting, the undisguised reality of farmers. As one of happens during the mid of the night? Whose torchlight becomes the focal point, adding the most influential Chinese artists, both nightmare is this? A Frightened Dream physical and emotional intensity when the his photo-realism and Rustic realism works delicately captures a private moment and nester hunted wild pigeons. Luo's use of eagerly promote better understanding pushes viewer to connect with peasants' color is more playful. In A Frightened Dream, of Chinese traditional culture and alarm emotions, guiding them to perceive peasants the flashlight hides behind the bed leg. The viewers to recognize social problems in as human rather than producers. hidden light creates a quieter outbreak of contemporary society. The intimate interactions between the subject emotions. It is almost as if the young couple Luo Zhongli gradually departed from matters remind us of the masterpiece created want to conceal everything they see. The photorealism in mid 1980s and used more by Pieter Bruegel the Elder who Luo Zhongli secretive and oddly humorous moment vibrant techniques to depict peasant's reality really found of. In Bruegel's work, the pointing guides viewers to recognize the humanity through vivid anecdotes. In A Frightened man, judging the nest robber, is stepping into that remains in Daba mountain. Dream (Lot 470), Luo applies playful colour, the river. Underneath the intriguing anecdotes gestural brushstrokes, active interactions in both works generates strong emotional between subject matters to describe the connections with the viewer. raw humanity of villagers. Though visually Light functions as a powerful emotional more abstract, making his works are intensifier in A Frightened Dream . The emotionally more realistic. In the painting, warm orange and yellow contrasting with

Jean-François Millet, Bird's Nesters, painted in 1874, Philadelphia Museum of Art, Philadelphia, USA 鳥1874年作術物藏國

228 PROPERTY FROM THE FAMILY OF ALEXANDER E. KLEINE ALEXANDER E. KLEINE家收藏 WALASSE TING

Hidden behind the resplendent masses of overlapping the shapes of colour that also 美的出世人愛的盛櫻花在 colours, depicting the ephemeral beauty of make up the figure. 《愛櫻花》品471中，的女郎 the oft-desired cherry blossoms, we find Ting's mastery of powerful visual stimulation 藏在一花之中。她身姿， one of Walasse Ting's women. Here she also lingers in the rendering of Blue Horse ，發者來她的世的喜。 is in the painting I love Cherry Blossom (Lot 472). Luscious curves of the figure 初在上學美術，1952年前往巴， (Lot 471)misty-eyed, leaning lazily and and buoyant animals formed by fields of 前衛的畫畫家。1959年，他 mouth half openbeckoning to share the colours, heavily influenced by the effusive 在約。的早期作品充滿的 pleasures of her world with her discoverer. application method of the New York Abstract 和的風格，了約他 Having first trained in Shanghai, Ting Expressionists, were captured in a moment 畫女人。他過作的那， then traveled to Paris in 1952, where he of intimacy and affection. Animals, especially 他在詩歌中：「愛情來時，去時上 associated with the avant-garde CoBrA horses, were to Ting, symbols of freedom of 花。」他的作品，觀眾目，細 movement. He then settled down in New self and existential truth, an iconography for York City in 1959. While many of Ting's fields of greenery and mountainous hills and 之覺，且描人的角別出心 earlier works were charged with exotic the strive for the perpetual exploration of the ，令人一見。 colours and the vibrant lifestyle, it was in inner terrain. 的深受·，所以他畫 New York where he focused on portraits Perhaps dissatisfied with the language of 的女郎身姿，約。用興成的 of women. Through his artwork, Ting pure abstraction, Ting returned to more 描畫出女的、大膽人的身姿和上 consistently strives for the transient, which traditional themes of self-expression. I n 的。將櫻花於的裡 can be discerned from his poems: "love, Flower with Watermelon and Birds (Lot 花被人蓋，時在成人象的 resembling a butterfly when it comes, and a 473), familiar imagery such as flowers, flower on paper when it goes." While initially 上。 fruits, fishes, and birds are portrayed. The captivating the audience with the sheer 造動人的覺，在《 cropped perspective creates an added vibrancy of his paintings, Ting's paintings 的》品472中見一。多 sense of intimacy, and the triangular slice are memorable for their playfulness and of watermelon invites the viewer into the 出女的妖、朝的，畫面 distinctive perspective of portraiture. painting. The bouquet of flowers created ，見深受約象表主 Ting makes use of spontaneous delineative with alluring dabs of rich color, and the slow 那種情的畫法所。動，其是 lines to model the female figure's face, her trickle of paint that moves vertically along ，在中象人自由和在相，畫 striking pose and the folds of her clothing. the paper creates an air of gentle adoration. 者一在和山之的，無 Ting depicts the painting's flowers in As such, Ting's figures are not the main 地心天地。 an ambiguous space simultaneously subjects of his paintings, but are rather 許滿於象的，他回傳 being overlapped by figurative lines and one of the vehicles of expression alongside 統的主題來表自。在《花、兒》 colour and gesture. 品473中，描的花 Two Women with Horse and Parrot (Lot 593) 。被的角為畫面，三角的 is an ink painting. The simplicity in its color 觀眾入畫中。的出花 471 further demonstrated Ting's exceptional ，畫，造一約的情 mastery of the composition of space. 。此來，人是作品的主題， WALASSE TING Instead of adopting the idea of 'the void' in 們和動一，是他的表之一。 Chinese traditional painting, Ting utilized ±DING XIONGQUAN, USAÍCHINA, 1928²2010³ ±國Í中國，1928²2010³ the entire surface demonstrating a new style 《女及》品593是一幅水 forged through the fusion of Eastern and 畫。此作品，一示造 I Love Cherry Blossom 愛櫻花 Western compositional styles. 的。國畫的「白」，用 signed titled, and dated 'I love Cherry-Blossom ting 77' (on the reverse) 畫幅畫面，他東方畫風格獨的 oil and acrylic on canvas 1977年作新格。 76 x 101.5 cm. (29 ⅞ x 40 in.) Painted in 1977 ：I love Cherry-Blossom ting 77 (畫)

HK$400,000600,000 US$52,00077,000

PROVENANCE 來源 Acquire directly from the artist by the previous owner, thence by descent to the 原藏者得自藝術家，由原藏者家屬收藏 present owner 美國人收藏 Walasse Ting painting a female ﬁgure, 1975. Photograph by Pierre Alechinsky. 1975年，雄在繪畫人。照由爾•。 Private Collection, USA 此作品藝術家所發之 This work is accompanied with a handwritten certiﬁcate by the artist.

230 472 473 WALASSE TING WALASSE TING ±DING XIONGQUAN, USAÍCHINA, 1928²2010³ ±國Í中國，1928²2010³ ±DING XIONGQUAN, USAÍCHINA, 1928²2010³ ±國Í中國，1928²2010³

Blue Horse 的 Flower with Watermelon and Birds 花、兒 acrylic on paper acrylic on paper 本本 97 x 179 cm. (38 ¼ x 70 ½ in.) 96 x 137 cm. (37 ¾ x 53 ⅞ in.) 藝術家印一 one seal of the artist 藝術家印一 one seal of the artist

HK$200,000300,000 來源 HK$200,000300,000 洲人收藏 US$26,00038,000 US$26,00038,000

PROVENANCE PROVENANCE 來源 Private Collection, Asia Private Collection, Asia 洲人收藏

232 PROPERTY FROM AN IMPORTANT ASIAN PRIVATE COLLECTION PROPERTY FROM AN IMPORTANT ASIAN PRIVATE COLLECTION 洲重要人收藏洲重要人收藏

474

自在雅的家風中成的三郎，對藝術有厚的興，學藝過 475 YANG SANLANG 三郎是時有日、法深造景的前藝術家。在巴的觀 ±，1907²1995³ ±TAIWAN, 1907²1995³ 三郎經，對三郎畫風重要的，其是印象對自然的 YANG SANLANG ，及寫的作；他的作品中，發受、 Lake Reﬂection 邊 ±TAIWAN, 1907²1995³ ±，1907²1995³ 所的筆，及有、的厚，且經常過 signed 'S. Yang' (lower left) 的理以表的。畫 oil on canvas Rock 岩約1978年作喜愛大自然的三郎，一作過多幅以及為題的作品。 60.5 x 72.5 cm. (23 ⅞ x 28 ½ in.) signed 'S. Yang' (lower right) ：S. Yang (左) 畫在《岩》(品475)中為了描大自然的，藝術家特 Painted circa. 1978 oil on canvas 1980 45.5 x 53 cm. (17 ⅞ x 20 ⅞ in.) 約年作用方的筆表的岩，對的浪 HK$400,000600,000 Painted circa. 1980 ：S. Yang (右) 花的天，著的的。《邊 US$52,00077,000 》(品474)了一幅的世源，以的筆 HK$250,000350,000 的變化及水面的，動，得 PROVENANCE 來源 US$33,00045,000 富有。洲人收藏 Private Collection, Asia 三郎除了情於作之，美術運動，是 PROVENANCE 來源重要的前藝術家之一。1934年，三郎、李樹 EXHIBITED Private Collection, Asia 洲人收藏 1995年7月1-28日「中國十四國美」人，「美術會」，成為日治時代重要的畫會； Taipei, Taiwan, The 14th National Art Exhibition of the Republic of 國藝術「美」成為「美術會」以及「美術 China, National Taiwan Arts Education Center, 1-28 July 1995. 會」之重要的藝術動。二戰，受「美術會」(稱)，為藝壇推美術運動，著。 234 PROPERTY FROM THE ESTATE OF ROSA DAVID ROSA DAVID女士收藏

476 CHEN YIFEI ±CHINA, 1946²2005³ ±中國，1946²2005³

Sunset Suzhou 蘇的 signed 'Chen Yifei' (lower right) 畫 oil on canvas 1989 50.8 x 76.2 cm. (20 x 30 in.) 年作 Painted in 1989 ：Chen Yifei (右)

HK$650,000850,000 US$84,000110,000

PROVENANCE 來源 Private Collection, USA 美國人收藏

LITERATURE 1990年《CHEN YIFEI》 Hammer出版約美國 Hammer Publishing, Chen Yifei, New York, 1990, (illustrated, plate (圖版, 27圖, 無) 27, unpaged). 2010年《》上人美術出版上中國 Shanghai People's Arts Publishing House, Chen Yifei, Shanghai, (圖版，220-221) China, 2010, (illustrated, p. 220-221).

When Dr. Hammer, chairman of Occidental Petroleum and founder 方石公主畫創人士在1985年中國的 of Hammer Gallery, visited China in 1985, he gifted Chen Yifei's 時，他把的故的雙一作中國領人平。 Hometown Memories - Double Bridge to Chinese leader Deng 此幅畫作描繪了對的印，而主題則是於氏以河 Xiaoping. This painting depicts Chen's memories of an idyllic old 的水風情為題的主要。此作州的(品 476) 是 town, the subject belonging to a larger series of works by Chen that 這要的作品之一。 portrays water towns often with prominent canal networks. The 以水為題入畫，在中國繪畫中有的歷，以到元時期。 present lot, Sunset Suzhou (Lot 476), is part of this important series. 後來在明朝，畫家以水作為表達他們個人情感創作的表。 Depiction of water towns has a history in Chinese paintings 然描畫對一，明朝作品中的風景一都是術家理化的景，與 that stretches back to the Song-Yuan period. Later in the Ming 現。在州的一作中，則了中國風景與15 dynasty, artists also adopts landscape as a vessel to express their 派呈現主題、表現其義的手法。氏對這兩者的 individualism and creative insight. Despite overlapping in subject 的始於他1982年的之，當時他，描繪當 matter, scenes portrayed in the Ming period is heavily imagined and 地風景的河。氏州的一作中人的描繪，為作品入 idealized, without great fidelity to reality and often completely fiction. 了強的情感與。他下與的明顯對比，平了河川天空的色 Sunset Suzhou integrates the Chinese setting with techniques ，表現出他對表現之的同時，有強戲劇化的。這 of 15th century Venetian School's emphasis on the nonmythical 對描繪對色的精用，氏的畫作不一方對方的 treatment of subject matter that simultaneously convey a social 國風情描的，他的中國題作品更顯要。 importance. Chen's interest in this unification emerged from his trip 州的一作與期的水，都是在氏之後 to Europe in 1982, during which he took trips to Venice to paint its 的試石，表現了最期方繪畫傳與中國的試。 picturesque canals. Chen's dramatic depictions in Sunset Suzhou are similarly instilled with strong sentiment and atmosphere his apparent contrast of light and shade counterbalanced by colors in river and sky, expresses his commitment to realistic representation with unifying bold theatrical undertones. This carefully controlled organization of subject matter and color grounds Chen's paintings from trappings of exoticism commonly present in Western depictions of the East, allowing his Chinese subjects greater importance. Painted soon after his studies and experiences in Europe and the United States, Sunset Suzhou and the early Water Town paintings mark Chen Yifei's first attempts to integrate the Western traditions of painting with Chinese motifs.

Dr Armand Hammer presenting Memory of Homeland – Double Bridge to Deng Xiaoping in 1985 愛滿馬士於1985年向平故的 - 雙

236 PROPERTY FROM A WEST COAST, US COLLECTION 美國人收藏

477 CHEN YIFEI ±CHINA, 1946²2005³ ±中國, 1946²2005³

Reﬂection 思 signed in Chinese, signed 'Chen Yifei' (lower left) 畫 oil on canvas 1998 233 x 75 cm. (90 ¾ x 29 ½ in.) 年作 Painted in 1998 ： Chen Yifei (左)

HK$2,300,0003,300,000 US$300,000420,000

PROVENANCE 來源 Private Collection, USA 美國人收藏

LITERATURE 2006年《覺人傳》上出版 Shanghai Bookstore Publishing House, A Visual Life-a biography 上中國 (圖版，73) on Chen Yifei, Shanghai, China, 2006 (illustrated, p. 73). 2008年《》天畫天中國 Tianjin Yangliuqing Fine Arts Press, Chen Yifei, Tianjin, China, (圖版，80) 2008 (illustrated, p. 80). 2010年《》上人美術出版上中國 Shanghai People's Fine Arts Publishing House, Chen Yifei, (圖版，327) Shanghai, China, 2010 (illustrated, p. 327).

These two paintings, Reflection (Lot 477)and works in Chen Yifei's oeuvre. In 2017, a work from tradition. Both portraits employ the same single Seduction(Lot 478), both derive from Chen Yifei's the same series, Chen's Warm Spring in the Jade light source as in Rembrandt, with diffuse light "Old Dreams of the Sea" series, begun in the Pavillion, set a new sale record both for Chinese falling from above at an oblique angle. But unlike 1990s. During this period, Chen's art continued realist oil paintings and for Chen Yifei personally. Rembrandt, with his dramatic shafts of light to be based on his solid foundation of realist Unlike some other works in the "Old Dreams of striking his subjects straight on, Chen subtly painting techniques and his own romantic, the Sea" series which are large group portraits, illuminates the contours of the women's faces humanistic outlook; now, however, they are the two paintings are especially unique in the and shoulders while letting their facial features combined with a kind of cinematic framing of his series as vertically-oriented portraits of individual almost disappear in shadow, so that the viewer subjects, allowing him to inject a great deal of figures. Just as in traditional Chinese vertical can only guess at their state of mind. Light here poetic feeling into the reserved charm of Eastern scrolls of painting featuring beautiful women, is not just an aid to modeling these figures, but aesthetics. A dense atmosphere of classical the two figures here stand erect, heads slightly has become an integral part of the painting's solemnity, along with an intoxicating sense of bowed, wearing the gorgeous costumes of the subject. nostalgia for the Republican era of 1930s China, Republican era while holding palm-leaf fans, Chen Yifei began his involvement with film in the has become of the most representative series of Neither painting elaborates more than necessary 1990s, a period during which, in addition to his on their surroundings, placing them instead in "Old Dream of the Sea" series, he filmed other backgrounds of dark brown; viewers follow them cinematic works also set in old Shanghai. The as they lower their heads, escaping for a moment dramatic tensions of the two portraits presented from the turmoil of their private or romantic here have clearly benefitted from the language affairs into their own deep thoughts. The deep, of the movie-maker's lens. The artist chooses an hazy atmosphere of these paintings leaves much elevated angle from which to view his subjects, room for the fantasies of the viewer. at the same time subtly exaggerating the These Chen Yifei works feature wonderfully rich element of perspective, making their forms even textures of light and shadow, evoking the artist's more slender and elongated. They stand slightly romantic nostalgia for the golden age of old inclined, their figures forming a gentle "s" curve Shanghai. As in Old Dream of the Sea , the film as in the sweet-tempered, delicate figures in Chen directed in 1993, a filter seems to cast an ancient Chinese paintings of women. Unknown antique yellow glow over the entirety of these two to them, a lens is trained on these women, and paintings, evoking a sense of entwining memory we become an "audience" as we view Reflection in the warm spreading haloes of light. Chen Yifei and Seduction: through the shadowy lamplight Rembrandt van Rijn, Portrait of a Lady with a has clearly absorbed certain essentials in the of old Shanghai, we enter another film by Chen Lap Dog, painted in 1662-1665 Yifei, where two solitary figures speak their lines, 爾因，子與狗 use of light from Western classical masters such quietly and pensively, alone before the camera. 1662-1665年作 as the pre-Raphaelites and the Netherlandish

238 PROPERTY FROM A WEST COAST, US COLLECTION 美國人收藏

478

CHEN YIFEI ±CHINA, 1946²2005³ ±中國, 1946²2005³

Seduction signed in Chinese, signed 'Chen Yifei' (lower left) 畫 oil on canvas 233 x 75 cm.(90 ¾ x 29 ½ in.) 1998年作 Painted in 1998 ： Chen Yifei (左)

HK$2,300,0003,300,000 US$300,000420,000

PROVENANCE 來源 Private Collection, USA 美國人收藏

LITERATURE 2006 Shanghai Bookstore Publishing House, A Visual Life-a biography 年《覺人傳》上出版上中國 ( 73 ) on Chen Yifei, Shanghai, China, 2006 (illustrated, p. 73) 圖版， 2008 Tianjin Yangliuqing Fine Arts Press, Chen Yifei, Tianjin, China, 年《》天畫天中國 ( 83 ) 2008 (illustrated, p. 83) 圖版， 2010 Shanghai People's Fine Arts Publishing House, Chen Yifei, 年《》上人美術出版上中國 ( 329 ) Shanghai, China, 2010 (illustrated, p. 329) 圖版，

沉(品477)和(品 1993年的海上稱， 478) 2090年始創作的海幅畫面著一層色的，出上作品。這一時期的了個的之感。用方上，能出人的功和浪主義的人情，結了前爾畫派和德畫派等方大合的景風，將方的神師創作的精。兩幅採用的一化地表現出來。畫面著主義的源，由上方下的的。而與和三年國時期人的情，成為了其將一戲劇性打向人物面不同，最表性的之一。同中春巧妙地子龐和頭的，卻讓五就在2017年刷了中國畫和個人作在之中，讓人不子的事。品的最高。色的背景源有著妙的色，與海上中其他人多的群體出生空間中的化。此時，不同，沉和為該中為不僅僅是一種型手而是成為繪畫主體的一的人物。與中國傳畫中的。圖同，兩身著國時期服自90年始，在創作海上的子手，，自一人在細長的同時，也了一於上海背的構圖空間中，神，自。畫面景的作品。兩幅人物作品的戲劇張，對遭境多作，而將人物至於色背於的頭。術家以角將景之上，讓觀者著子一風花月的頭向子，大了角，人物中，頭沉。沉的姿更細長，成的S，中，觀者起上海的流，國繪畫中那些的，同時出聯到李照下的，發無。由頭的角，讓觀在沉和的作品有著為的感，出中，著上海的沉，入畫家對上海時的浪之情。與的一出的人物白。

Qing Dynasty, Ren Xiong (1923-1857), Lady Holding A Fan, hanging scroll, ink and colour on silk, Collection of Nanjing Museum, Nanjing, China 熊 (18231857) 宮圖本設色中國京京物藏

240 479 WANG YIDONG 東 ±CHINA, B. 1955³ ±中國，1955年生³

Early Spring 早春 signed 'Wang Yidong', signed in Chinese and dated '1995' (lower right); 畫 gallery label of Schoeni Art Gallery, Hong Kong affixed to the reverse 1995 oil on canvas 年作 98 x 78 cm. (38 ⅝ x 30 ¾ in.) ：Wang Yidong 1995 東 (右) ； Painted in 1995 畫廊於畫

HK$1,500,0002,500,000 US$200,000320,000 來源 PROVENANCE 畫廊 Schoeni Art Gallery, Hong Kong 英國人收藏 Private Collection, UK

The genre of Chinese Realist paintings, turned the garland framing the scene, reflect on the life. In order to explore the particular terrain, away to an era of opening and reform, can be elements of a festive celebration. With this Wang Yidong has made many field trips to understood within the rise of humanism as work the artist has imitated the Dutch masters observe the ancient customs of the Yimeng a subject from the 80s onward. Leading the for their soft insinuation of light; from the front, Mountain region, "I could only paint of matters group of Neo-Realists would be Wang Yidong; a beam illuminates the character in the scene, that are close to my heart; as I slowly paint a his mastery of the chiaroscuro techniques was as its gradations distinguish the darkly shaded subject, the more I know of it, the better it is acquired from the Western Classical Realism, background against the searing red attire, in to be translated to the canvas." The connoted as he vibrantly expresses a sentiment for the glorifying the timeless state of the rustic and style of classical masters is craftily repurposed rural traditions that are inherently his roots. mundane. While the gently blurred contours of by Wang Yidong, to examine the unaffected Early Spring (Lot 479) is presented in the style an arched door in behind accords to pictorial simplicity of the rural, quotidian scenes, that of Classical Realism, to depict a rosy country symmetry, it also enhances the dramatic sense are portraying the Chinese people and their maiden staring ahead as if into aspirations of a staged realitythe overall composition lives. and hopes; innocence emits from the depth of and atmospheric effect are drawing us to the 中國主義畫，在經歷時期的治 her eyes, meeting those of the viewer's with a demurely seductive protagonist, at an instant, 後，終於在80年來了一歸人性的風。 shy smile. To contrast with the early Socialist we are captivated by her enthralling gaze, at 作為這一主義流派的領軍人物， Realist paintings, the idealized heroisms in the moment where she blossoms in an abyss 了方大師對與體的超把，而其發 the "red, bright and shining; lofty, noble and of love. 的感與情卻根於中國化。 perfect" aesthetics have vanished here, to Wang Yidong has choreographed great details 春(Lot 479)以細入的畫技法，畫 emphasise the value of simplicity and human in his painting, to distill for the viewer all that 出一豆年的。神 virtue. constitute the essence of life: The scratches ，爾，向觀者，與期主義畫中 Early Spring suggests of a celebration of the marring the cement wall, the sleeves and 、、；高、大、全的英雄然不 season, and the hope that it symbolizes in the collar decorated in floral patterns, and the 同，下治化後的的。 wake of "Spring" Here is a girl dressed in tidily braided hair ornamented with colorful 春描繪春日景，而是以主 folk red, her wide eyes express of bewilderment, fabrics; such visual conundrum affirms to his 義的方暗春的少一火的上 as if anticipating for a joyous event; as well as work as a heightened nostalgia for the rural ，滿的神，是在喜事的來臨；而少身後兩的春，作。大師一，畫面採用了其的源和色結構，一前方向少，與暗灰的背景和的，為平的人和事物上一層崇高的。人物身後的的結構，強了畫面對稱感，更讓畫面有戲劇性畫面構圖和的全都中在了少的明，讓家少年一見情的那一。在主體之，還了無精巧的細節，能讓觀者領神。人物身後上水的、少領和的花布、手上的子、兩根子上用不同色的角布的頭，無不出生中的。為更畫生，多次風，一只畫自己的人和物，和自己生，感，用自己的繪畫表達在大師的上，將自己對生細入的觀入繪畫，創出人的中國生 Diego Velázquez, Young Peasant Girl, painted in 1645- Wang Yidong, Early Spring (Sketch), 1650, Collection of Museo del Prado, Madrid, Spain painted in 1995 體驗。家1645-1650年作春(描) 1995年作 242 班馬德多術藏 481 480 SHEN HANWU 武 LUO ZHONGLI 中 ±CHINA, B. 1950³ ±中國, 1950年生³ ±CHINA, B. 1948³ ±中國，1948年生³ At the Water's Edge 在水邊 signed in Chinese and signed 'H.W. Shen' (lower left) Woodcutter from Bashan 畫巴山木者 oil on canvas : 武 H.W. Shen (左) signed 'luo.' (lower left) 121.7 x 122.1 cm. (47 ⅞ x 48 ⅛ in.) 木 oil on board 53 x 37 cm. (20 ⅞ x 14 ⅝ in.) ：luo. (左) HK$200,000300,000 US$26,00038,000 HK$160,000260,000 來源洲人收藏 US$21,00033,000 PROVENANCE 來源 Private Collection, New Jersey, USA (acquired directly from the artist 美國新人收藏 (藏者得自藝術家) PROVENANCE by the present owner) Private Collection, Asia Lot 482, 483 No Lot

244 484 485 獨特的「寫象」表，富中 CHI HONG LIU JIUTONG 國傳統水「白」、「以寫神」的深厚，方的， ±JI HONG, CHINA, B. 1942³ ±中國，1942年生³ ±CHINA, B. 1977³ ±中國，1977年生³ 造在人代象新中的代表性 Beauty on the Wall 頭上的Beauty Old Shanghai 上地。原是人，2000年於安美術學院，上成作， signed in Chinese and dated '2011' (lower right); signed in Chinese, dated signed and inscribed in Chinese; dated ' 2009' 畫畫在的作人風格。《 '2011', titled in Chinese, inscribed '65 x 65 cm' and inscribed in Chinese (lower left); inscribed '180 cm. x 180 cm. (47)' 2011 2009年作 (on the reverse of the frame) 年作 (on the reverse) 上》的作於2006年，題自：上2009(左)； oil on canvas ：2011 (右)；頭上的 "Beauty" 65 x 65 cm oil on canvas 上新會的會，描心對於 180 cm x 180 cm (47) (畫) 65 x 65 cm. (25 ½ x 25 ½ in.) (20) 2011 (畫) 180 x 180 cm. (70 ⅞ x 70 ⅞ in.) 原江會的觀。此《上 Painted in 2011 Painted in 2009 》(品485)幅大，運用的厚重、造富有戲劇張的 HK$60,00090,000 HK$200,000300,000 理，將會天的入象化的精 US$7,70012,000 US$26,00038,000 筆中，出的畫法細膩的畫面。 PROVENANCE 來源 PROVENANCE 來源 Anon. sale, Christie's Hong Kong, 24 November 2013, Lot 245 2013年11月24日士得 245 Private Collection, Asia 洲人收藏 Private Collection, Asia 洲人收藏

246 486 487 CHEN TING²SHIH 詩 CHEN TING²SHIH ±CHINA, 1916²2002³ ±中國，1916²2002³ ±CHINA, 1916²2002³

Lantern Fair 燈會 Untitled signed and dated 'Chen Ting-Shih 1970' (lower right); numbered, signed, dated '5/10 Chen Ting-Shih.68' (lower left) 版版畫 numbered '16/18' (lower middle); titled 'Fair Lantern' (lower cane fibre board relief print on paper 1970 left) 年作 59.5 x 120 cm. (23 ⅜ x 47 ¼ in.) cane fibre board relief print on paper 版：16/18 edition 5/10 為中國現版畫創始成，1960年 61 x 121 cm. (24 x 47 ⅝ in.) ：Chen Ting-shih 1970 (右) ; 16/18 (中) ; Executed in 1968 入五月畫，保雙年 edition 16/18 Fair Lantern (左) one seal of the artist Executed in 1970 ，在戰後現術發上有高成就， HK$70,00090,000 作品一而上名。其期版畫作品 HK$70,00090,000 US$9,00012,000 為風，後以的板為、手上 US$9,00012,000 磨，創作出理、色的版畫。 PROVENANCE 然風以幾為創作，其於方，題有於同時方術家。他將對 PROVENANCE 來源 Private Collection, California, USA 天地行的自然感知入上，中 Private Collection, Asia 洲人收藏了刀法的動、，以的印詩感，自石而表現出然 LITERATURE 2002年《大：詩紀》美術 ±中國，1916²2002³ 不同的。 Taipei Fine Arts Museum, Chen Ting-Shih (1915-2002): Sound of (圖版，97圖，224) Rarity, Taipei, Taiwan, 2002 (illustrated, plate 97, p.224). 此次精的版畫作品了他的經用 2004年《神遊．詩》圖 (圖版， Lion Art, Chen Ting Shih, Taipei, Taiwan, 2004 (illustrated, p. 69). 無題色黑、、、。(品 486)以 69) 的、暗與黑色火，上節與動版版畫；無題(品 487)河之始(品 1968年作 488) 以大幅色合表現生生不息之版：5/10 "Art is not conclusive, all creation is only a matter of selection." ，三聯作的第一(品 489)則以：5/10 Chen Ting-Shih.68 (左) 色與大的構圖呈現出之間於藝術家印一 Chen Ting-Shih 張的動。自失而一生，他的術表達卻更顯出超乎常的。術是沒有終的，所有的創作都是程的。來源詩美國人收藏

248 488 forms shown much influence from western Abstractionism; however, his aesthetics CHEN TING²SHIH 詩 are deeply rooted in Oriental ideologies, separating him from his western counterparts. ± 1916²2002³ ±CHINA, 1916²2002³ 中國， He projected on the paper his understanding of nature, and the mysterious workings of 489 Beginning of the Glacier 之 the universe; his simple shapes indicate the lexicons of seal craving, in its energy and signed and dated 'Chen Ting-shih 65' (lower 版版畫 CHEN TING²SHIH 詩 right) ; numbered '6/7' (lower left) the oneness of true and void. The residue of 1965年作 cane fibre board relief print on paper stencil-like compositions appears on the verge ±CHINA, 1916²2002³ ±中國，1916²2002³ 62 x 61 cm. (24 ⅜ x 24 in.) 版：6/7 of vanishing, remind to us the ancient forms edition 6/7 ：Chen Ting Shih 65 (右) ; 6/7 (左) of stone monuments, yet, his abstract shapes Centrifuge #1 心一 Executed in 1965 藝術家印一 reinvent and resonate to the present. signed and dated 'Chen Ting-shih 1969' (lower right) ; numbered one seal of the artist 版版畫(三聯作) '11/14' (lower middle) ; titled 'Centrifugue#1' (lower left) This auction presents an excellent collection 1969 來源 cane fibre board relief print on paper, triptych 年作 HK$40,00060,000 of print works by Chen Ting-Shih, to include 洲人收藏 each: 119 x 60 cm. (46 ⅞ x 23 ⅝ in.) (3) 版：11/14 US$5,2007,700 his signature palette: black, blue, gold and overall: 119 x 180 cm. (46 ⅞ x 70 ⅞ in.) ：Chen Ting-shih 1969 (右) ; 11/14 (中) ; red. Lantern Fair (Lot 486) uses the colours of edition 11/14 Centrifugue#1 (左) 2002 PROVENANCE 年《大：詩紀》 flaring red, muted gold and charcoal black to Executed in 1969 藝術家印一 one seal of the artist Private Collection, Asia 美術 (圖版，33圖，218) conjure the image of light, each element in this work tells of motion and rhythm; Untitled (Lot 來源 HK$150,000200,000 LITERATURE Chen Ting-Shih was a founding member of the 487) and Beginning of the Glacier (Lot 488) 洲人收藏 Taipei Fine Arts Museum, Chen Ting-Shih (1915- Modern Graphic Art Association, he later joined depict masses of azure blue looping across the US$20,00026,000 2002): Sound of Rarity, Taipei, Taiwan, 2002 the Fifth Moon Group in 1960, and was nominated surface, to suggest the ritual linking states of PROVENANCE (illustrated, plate 33, p.218). for the São Paulo Art Biennial in Brazil. Chen was life. The triptych Centrifuge #1 (Lot 489) pushes 2002年《大-詩紀》美術 a crucial figure in the history of modern art in post- the compositional possibility of dense, black Private Collection, Asia (圖版，74圖，222) war Taiwan, widely recognized for his abstract shapes, to describe the tension manifested 1993年《詩十回》美術中 prints and iron sculptures. His early woodcuts in the figure-ground relationship. Since Chen LITERATURE (圖版，48) were relatively realistic, as he evolved to produce Ting-Shih had lost his hearing at an early age, Taipei Fine Arts Museum, Chen Ting-Shih (1915-2002): Sound of Rarity, abstract engravings on bagasse boards, which much of his time was lived in silence, but it Taipei, Taiwan, 2002 (illustrated, plate 74, p.222). utilized the characteristics of the material to attain did not stop him from communicating with his Taiwan Museum of Art, Chen Ting-Shih Eighty Retrospective, Taichung, rich colours and textures, by inking the plates and art, the purest human emotions that are most Taiwan, 1993 (illustrated, p. 48) 250 printing by hand. His visual language of geometric profound. JAPANESE PRINTS A PICTURE OF THE FLOATING WORLD 日本版畫：浮世繪大觀

The 17th century in Japan brought about the simple line alone. He dominated the last decade created by a sudden and heavy downpour forcing social and economic changes necessary to allow of the 18th century and the first years of the 19th travellers to run for shelter in the famous Shono: the development of the Japanese print. Following century with his okubi-e [large head] depictions Driving Rain (Shono, Hakuu) (Lot 495). centuries of chaotic civil wars during the of women, although he was certainly not limited Many series followed of landscapes, bird and Sengoku period (late 15th-late 16th century), the to this – he also produced half-portraits, full- flower prints as well as illustrated books, Edo period (1603-1868) established a long period length portraits and book illustrations. culminating in his final landscape series before of peace in which the arts flourished, supported THE UKIYO-E PRINT IN THE 19TH CENTURY his death, One Hundred Views of Famous Places by newly-prosperous merchants and artisans of Edo (Meisho Edo hyakkei), published by Uoya in the bustling urban centres of Edo (Tokyo), KATSUSHIKA HOKUSAI Eikichi in 1856-58. In this series of one hundred Katsushika Hokusai (1760-1849), Under the Wave, off Kanagawa, Kyoto and Osaka. It was these cities, with their from the series Thirty-six Views of Mt Fuji, circa 1830-32 Actor prints and those of courtesans dominated and twenty prints (including title page and two theatres and pleasure quarters that provided The Metropolitan Museum of Art, New York, the print market during the 18th century and prints designed by pupils) Hiroshige employed abundant subject matter for ukiyo-e artists. The The Howard Mansfield Collection, Purchase, Rogers Fund, 1936 although the demand continued into the 19th a bright colour scheme, unusual vantage points term ukiyo means "floating world", and came century, it was in the genre of the landscape and devices which became of keen interest to to be associated with the momentary, worldly print where the important innovations occurred Impressionist and Post-Impressionist painters 到了17世紀，日本版畫發展所迫切需要的社會經濟歌川廣重 pleasures of the rising middle class. Following on once these prints found their way to the West from around 1820 onwards. No other artist is ( ( 492) from the early prints of this period which were 變革總算啓動。歷經了數個世紀的內戰動亂戰國與葛飾北齋同期的浮世繪大師，歌川廣重(1797- 的訪客則是林立於遠處的欄杆後拍品編號。另 more universally appreciated for landscape during the second half of the 19th century. It is printed in black only, came Suzuki Harunobu 時代)，江戶時代(1603-1868年)的來臨，終於確保 1858年)，可謂全靠風景畫類型作品起家；他的一幅則是《大橋安宅驟雨》，畫中的旅客們也是遭 prints than Katsushika Hokusai (1760–1849). two prints from this series that were immortalised (1725–1770), who was the first artist who took full 了長期的社經詳和，讓藝術活動能興旺發展，而這風格清麗溫暖，在描繪市井小民的日常生活時，逢意外驟雨而倉皇奔竄。負責這幅作品的雕版師工 His monumental series the Thirty-six Views in the work of Vincent van Gogh – The Plum advantage of the new techniques of full-colour 些藝術活動獲得東京、京都和大阪等繁忙市區的新筆觸充滿同情相憐；歌川對日本多變的四季情境藝無懈可擊，細膩線條詮釋得入微有致，落雨的姿 of Mount Fuji (Fugaku Sanjurokkei) of 1831- Garden, Kameido (Kameido umeyashiki) where printing to develop his own new style, producing 興商人和藝術家的支持。這些繁華城市歌舞昇平，表現，切入手法既入微又敏銳。《東海道五十三態被詮釋得栩栩如生 (拍品編號493)。梵谷收藏這些 33 was the earliest large-scale series produced Hiroshige places the trunk of a tree firmly in the prints of men and women depicted in a gentle 處處林立著劇院和娛樂中心，為浮世繪的藝術家提版畫的不同版本，更以油彩各仿製了一幅重構畫， in the genre of landscape in the history of the foreground, giving the viewer the sense of being 次》繪於1833年，屬於大師相當早期的作品，他 and delicate manner, which struck a chord with 供了豐富的靈感主題。「浮世繪」一詞意味著「浮同時加入了自己的詮釋。 Japanese print. Hokusai managed to engage the amongst the blossoming trees, whilst the other 和印刷家 - 竹內孫八 - 也因這幅而揚名立萬。本 the new print-buying public. Kitagawa Utamaro publisher Nishimuraya Yohachi in his project to visitors to the garden are behind a fence in the 動世界」，與新興中產階級所追求的短暫、遊戲人系列中最名聞遐邇的作品，多是凸顯大自然軒昂 (1753?-1806) is widely considered to be amongst distance (Lot 492). The other print incorporated 歌川國芳 produce a series of thirty-six horizontal oban 間的態度劃上等號。而稍早所提到的浮世繪初期作變化的藝品；在《蒲原夜之雪》中，歌川廣重即 the greatest print artists, in part due to his skill prints (which was subsequently expanded with directly into van Gogh's work was Sudden 品，純粹以黑色印製；之後鈴木春信 (1725-1770年) 時序進入19世紀，浮世繪藝術家勇闖新主題、新的 in the depiction of female beauty and his ability 描繪了疲憊旅人在無聲白雪的夜晚蹣跚前行 (拍品 Shower over Shin-Ohashi Bridge and Atake 創作領域，從而開創了武者繪的紀元；其中的歌川 ten supplementary designs, meaning that the 崛起，成為第一位盡情利用全彩印刷技巧來詮釋獨編號494)；而《庄野．白雨》是另一幅著名風景 to convey the character of his subject through (Ohashi Atake no yudachi), where Hiroshige complete set actually comprises forty-six prints), 特風格的藝術家:他以柔和細緻的方式形塑作品中的國芳(1797-1861年)，正是這一類型的佼佼者。在發 depicts a group of travellers again scattering due 畫，故事場景是一場突然襲來的暴雨，迫使一群旅 each depicting Mount Fuji from a different 男男女女，深受當時買家們的共鳴。想版畫時，大師從日本豐富的戰爭故事和傳奇汲取 to a heavy downpour of rain. In this print, the 人狼狽地尋找避雨處(拍品編號495)。歌川廣重繼 viewpoint. In the late 1820s and early 1830s, 靈感，像是中古12世紀間平氏和源氏兩大家族的爭 skill of the block-carver is abundantly evident in 喜多川歌麿 (1753-1806年) 被公認是浮世繪中最著風景畫之後也創作了許多花鳥版畫、以及書籍插 a fashion emerged for prints printed entirely 戰；他所繪的《壇之浦戰圖》(拍品編號510)是一 the carving of the thin lines, which so accurately 名的大師之一，這是因為他對女性之美的詮釋能力圖；他在謝世前的最後一幅風景畫，《名所江戶 in shades of blue using Prussian blue, a new 幅三聯畫，就捕捉了源平合戰 (1180-85) 時，平知 chemical pigment which originated in Europe but portray the falling rain (Lot 493). Van Gogh 精深，也是因為他用簡潔的線條就能傳達筆下主角百景》，代表了其精彩藝涯的高峰；《名所江戶 owned versions of both of these prints and 盛投海自盡的慘烈。歌川國芳的歷史和傳奇故事版 which at the time of the Fuji series was imported 的特質。在18世紀最後十年以及19世紀初期，歌麿百景》在1856-1858年由印刷家 - 魚屋榮吉 -所發 produced a painting in oil copying each print yet 畫，經常融入了虛構奇獸、鬼怪幽魂的復仇、或是 from China. Some prints of the series are printed 以他「大首繪」的女性形象稱霸日本藝壇而；然而行。這一系列共有120張版畫(包括主題頁和歌川 adding his own artistic embellishments. 超人的勇氣和豪傑傳奇。歌川國芳的作品《宮本武 entirely in shades of this new pigment combined 大師的創作當然不侷限於這種類型的作品: 他對於半廣重弟子所設計的兩張作品)，而大師選用了亮眼 with the traditional indigo blue, and some 藏之鯨退治》作於1847-1850年 (拍品編號508)，這 UTAGAWA KUNIYOSHI 身像，全身塑像和書籍插圖也著力甚深。的顏彩配置、還有頗不尋常的觀察角度來作畫；這 incorporated other colours. Two acknowledged 幅幻奇巨作，為歌川國芳精湛的製圖技巧做了最佳 A natural exploration of new themes during the 些作品在19世紀後半傳入西方藝壇，而畫作中所 masterpieces of the set are Fine Wind, Clear 明證。他巧妙地利用了三聯畫形式中所留的空間， 19th century brought about the rise of the warrior 葛飾北齋採用的此兩種藝術技巧，讓印象派和後印象派的畫 Weather (Gaifu kaisei) (Lot 490) and In the Well 讓巨鯨的身體整個覆蓋在上，幾乎吞沒了整個背 print, whose undisputed master was Utagawa 在18世紀期間，演歌藝人和藝伎為主題的版畫成為家們神往不已。印象派大師梵谷在作品中即摹寫了 Hishikawa Moronobu (d.1694), Two Lovers, circa 1675-80 of the Great Wave off Kanagawa (Kanagawa oki 景。他僅留部分餘白，描繪怒濤洶湧的大海和宮本 The Metropolitan Museum of Art, The Francis Lathrop Kuniyoshi (1797-1861). In designing his prints, 市場大宗；到了19世紀，儘管對這類藝術作品的買《名所江戶百景》中的兩幅，使其永垂不朽，成 nami ura) (Lot 491), both of which are admired 武藏。宮本以超乎想像的英姿騎在鯨背上，手持武 Collection, Purchase, Frederick C. Hewitt Fund, 1911 Kuniyoshi drew heavily from Japan's rich tradition ( ) 為這兩幅畫的雋永禮讚：在《龜戶梅屋鋪》中， for their simplicity of design, yet powerful and 氣仍然不退，風景畫名所繪作品才是浮世繪重大 of war tales and legends, such as the medieval 士刀準備了結這個海中巨獸。 majestic portrayal of nature. 革新的主角，並且自1820年後方興未艾。名所繪的歌川以大手筆將大龍梅的枝幹繪於前景，使得觀 wars of the 12th century between the Taira and 眾多藝術家中，葛飾北齋(1760-1849年)所受到的者錯以為自己身處在花朵怒放的林木中，而其他 Minamoto clans, as seen in his triptych The Battle UTAGAWA HIROSHIGE 景仰和受歡迎程度，普世無人能及。他創作於1831- of Dan-no-ura (Dan-no-ura tatakai no zu) (Lot Hokusai's great contemporary Utagawa Hiroshige 1833年間的巨作，《富嶽三十六景》，是日本版畫 510) showing the suicide of Taira no Tomomori (1797-1858) came to focus almost entirely on the 史中，大幅風景畫類型的系列濫觴。葛飾北齋在當 landscape and his designs are celebrated for during the Genpei War (1180-1185). His prints 時與出版商–西村屋與八–合作，創作了36橫幅初版 their warm and compassionate portrayal of the of historical and legendary events also often 的表富士(爾後又追加了10張增補作品，因此整個系 lives of everyday people, as well as a sensitive incorporated mythological creatures, ghostly 列共46張)，從不同角度描繪日本靈山 - 富士山 – 的 representation of Japan's landscapes through the apparitions exacting revenge, or superhuman ever-changing climatic conditions of the seasons. feats of courage and strength. 景致。到了1820年晚期及1830年早期，日本藝壇又 Hiroshige found success fairly early on with the Kuniyoshi's extraordinary skill as a draftsman 興起新潮流，繪師們開始採用稱之為普魯士藍的藍 series The Fifty-three Stations of the Tokaido is evident in his print Miyamoto no Musashi 色顏料，以深淺有別的方式塗滿整個畫板魯；普魯 (Tokaido gojusan-tsugi no uchi) in 1833, which attacking the Giant Whale, circa 1847-50 (Lot 士藍是一種新的化學顏料，最早起源自歐洲，但是 brought both artist and the publisher Takenouchi 508). He uses the space allowed by the triptych 在葛飾北齋創作富嶽系列時，則需從中國進口該顏 Magohachi immediate renown. format ingeniously by almost completely filling 料。這一系列中的數張作品，全然是以普魯士藍與 it with the body of the whale, squashing out The masterpieces of the set are generally 傳統靛色所混合而成的藍色繪成，而其他畫版則採 almost all background except for a tempestuous those with the elements of nature to the fore, 用了別種顏色。這一系列中當數翹楚的兩張大作， sea and the small figure of Miyamoto Musashi such as the travellers trudging through silently 分別是《凱風快晴》(拍品編號490) 和《神奈川沖 falling snow at night in Kanbara: Evening Snow improbably riding on the back of the whale, about Yashima Gakutei (1786?-1868), Mirror Case and Mirror/ 浪裏》(拍品編號491)；這兩幅畫以明快簡潔的設計 Utagawa Kuniyoshi (1797-1861), Tametomo and his Son Rescued by Tengu, 1848-1852 (Kanbara,yoru no yuki) (Lot 494), or the drama to subjugate it with his sword. Horinouchi Club, with poem by Hitsukatsutei Kusanari, 感、捕捉到氣象萬千的自然變化而成為歷史經典。 © The Trustees of the British Museum circa 1820 Harvard Art Museums/Arthur M. Sackler Museum, Gift of the Friends of Arthur B. Duel 252 A PRIVATE COLLECTION OF PRINTS FORMED IN THE 1990s 私人收藏

490 KATSUSHIKA HOKUSAI ±JAPAN, 1760²1849³ Fine Wind, Clear Weather (Gaifu kaisei), also known as Red Fuji

From the series the Thirty-six Views of Mount Fuji ( Fugaku sanjurokkei) Woodblock print, signed Hokusai aratame Iitsu hitsu [Brush of Iitsu, changed from Hokusai] Published by Nishimuraya Yohachi (Eijudo) Late 1831 Horizontal oban: 25.2 x 36.5 cm. (10 x 14 ⅜ in.)

HK$650,000850,000 US$84,000110,000

葛飾北齋 ±日本，1760²1849³

凱風快晴

取自《富嶽三十六景》作品上題有「北齋改為一筆」由西村屋與八(東大阪市)印製木刻版畫 1831年末

Widely referred to in recent times as 'Red Fuji', this print, along with the 'Great Wave', is one of the most iconic and instantly recognised by Hokusai. Here, Mount Fuji takes centre stage in a landscape with no sign of human presence. There is only the mountain occupying a large proportion of the design - rising up monumentally against a blue sky patterned with high wispy clouds sometimes aptly called 'sardine clouds' (iwashigumo), which gently drift across in the breeze. Depicted is the eastern side of the mountain with its traces of snow remaining at the peak, at the moment the rays of the early morning sun hit the upper slopes of the mountain, basking it in a warm glow. The 'southern breeze' (gaifu) of the print's title is a phenomenon associated with late summer and Hokusai has gone to great lengths to capture its essence through his composition, colour scheme and the printer's use of effects.

此幅版畫在近代廣被稱為《赤富士》，與《巨浪》一樣，是日本版畫集萃中的經典，地位無可撼動，而且觀者一眼就知道出於大師葛飾北齋之手。作品中，富士山凜然聳立於正中央，風景中未有人煙。畫中的富士山佔了大部分版面 – 它高聳入穹蒼，氣勢萬千，藍天中有著朵朵纖縷白雲，此雲象有時被稱之為「沙丁雲」；這些鬆軟雲朵在微風中吹拂下悠悠飄過。大師在富士山東邊加添了些許餘雪，尚留在山巔上；在此同時，晨曦的初暉映在富士山坡上，光芒萬丈，將山巔浸浴在溫暖光輝中。題於作品標題中的「凱風」，是夏末的一種獨特景象；而大師不遺餘力，透過構圖、顏彩配置、加上刷版師所使用的效果，使凱風得以躍然紙上。

254 A PRIVATE COLLECTION OF PRINTS FORMED IN THE 1990s 私人收藏

491 KATSUSHIKA HOKUSAI ±JAPAN, 1760²1849³ In The Well of the Great Wave o¤ Kanagawa (Kanagawa oki nami ura)

From the series Thirty-six views of Mount Fuji ( Fugaku sanjurokkei) Signed Hokusai aratame Iitsu hitsu [Brush of Iitsu, changed from Hokusai] Published by Nishimuraya Yohachi (Eijudo) Late 1831 Woodblock print Horizontal oban: 25.4 x 37.2 cm. (10 x 14 ⅝ in.)

HK$750,0001,000,000 US$97,000130,000

葛飾北齋 ±日本，1760²1849³

神奈川沖浪裏

取自《富嶽三十六景》作品上題有「北齋改為一筆」由西村屋與八(東大阪市)印製木刻版畫 1831年末

The 'Great Wave' towers up and crests over, caught by the artist in a moment of monumental power and energy. The claws created by the wave's crest reach over and sprinkle spray. The displaced water creates, for a brief moment, a deep well revealing to us the snow-capped sacred peak of Mount Fuji in the distance below. Three skiffs ( oshiokuri) are heading away from Edo (Tokyo), speeding to meet fishermen with fresh catches of fish, which they would return to the capital to sell in the markets. The oarsmen bend low in their boats, straining against the force of the ocean. The 'Great Wave' and 'Red Fuji' of the same series are the most famous prints from the series Thirty-Six Views of Mount Fuji (Fugaku sanjurokkei) which despite its title, comprised forty-six prints in total designed by Hokusai, and published by Nishimuraya Yohachi between 1831 and 1833. The set proved so successful that several editions were printed, which accounts for the variations in colouration when comparing different examples of this print. No other Japanese print has taken on an iconic status internationally as the 'Great Wave'. Frequently reproduced, it is incorporated into an assortment of modern design such as mobile phone cases, laptop covers, T-shirts, book cover illustrations, and advertising. It seems likely that there are various reasons for this - the perfect balance of the composition, the way in which the wave seems real, but perhaps overall the simple yet universally understood concept of the struggle of man against the monumental forces of nature.

大師以大開大闔、聳拔縱走的筆觸，捕捉了怒海翻騰排空的氣勢。澎湃滔天所造成的浪峰，濺起飛瀾水花。在一那剎那，捲起的波濤巨爪，讓身為觀者的我們得以瞥見遠處下方被白雪覆頂的富士聖山。三艘小艇正奮力划離東京，疾速要與一群甫補完魚、滿載而返的漁夫碰面；他們準備回到京城，趕著在開市時賣出新鮮漁獲。畫中的槳手們低伏在船身中，使盡氣力不被滾滾巨浪吞噬。

《神奈川沖浪裏》和《凱風快晴》是《富嶽三十六景》系列中最著名的兩幅作品；儘管標題說是36景，該系列事實上共涵蓋了46幅畫，全部出於葛飾北齋之手，並在1831和1833年間由西村屋與八印製出版。這系列一發行果然備受觀眾喜愛，因此印製了數個版本；這也正是我們在比較這作品的數張範本時，難免會留意到顏色的差異。

《神奈川沖浪裏》所獲的國際盛譽和藝界尊崇，向來是其他的日本版畫所望其項背的。該作品在普羅大眾市場被複製、成為現代商業工業設計的靈感來源，時常出現在行動電話護套、筆記型電腦護套、T恤和書籍封面插畫、廣告設計上。而這種現象的起因有數種可能美: 該作品構圖的平衡完美、以及對怒濤駭浪的生動描寫等而; 然而，最顯而易見、而且舉世皆能瞭然的原因，當屬人類力抗自然的對決，總能產生共鳴。

256 A PRIVATE COLLECTION OF PRINTS FORMED IN THE 1990s A PRIVATE COLLECTION OF PRINTS FORMED IN THE 1990s 私人收藏私人收藏

492 493

UTAGAWA HIROSHIGE 歌川廣重 UTAGAWA HIROSHIGE 歌川廣重 ±JAPAN, 1797²1858³ ±日本，1797²1858³ ±JAPAN, 1797Ù1858³ ±日本，1797²1858³

The Plum Garden, Kameido (Kameido Umeyashiki) 龜戶梅屋舗 Sudden Shower over Shin-Ohashi Bridge and Atake 大橋安宅驟雨 From the series One Hundred Views of Famous Places of (Ohashi Atake no yudachi) Edo (Meisho Edo hyakkei ) 取自《名所江戸百景》取自《名所江戸百景》 Woodblock print, signed Hiroshige ga 作品上題有「廣重畫」 From the series One Hundred Views of Famous Places ( Meisho 作品上題有「廣重畫」 Published by Uoya Eikichi 由出版家魚屋榮吉所發行 Edo hyakkei) 由魚屋榮吉所出版 Sealed aratame Woodblock print, signed Hiroshige ga 用印日期：蛇年11月(1857年11月) 畫上的用印為「極」("通過") Date seal: Snake 11 (11/1857) Published by Uoya Eikichi 木刻版畫用印日期：蛇年9月(1857年9月) Vertical oban: 36 x 24.2 cm. (14 Ø⁄¾ x 9 ¼⁄¾ in.) Sealed aratame 1857年作 Date seal: Snake 9 (9/1857) 木刻版畫 HK$70,00090,000 Vertical oban: 36.4 x 23.7 cm. (14 ⅜ x 9 ⅜ in.) 1857年作 US$9,00012,000 HK$160,000220,000 US$21,00028,000 Umeyashiki is the name of a plum garden on the bank of the Sumida River which drew large numbers of visitors to enjoy the view and scent of the blossoming trees in early spring. Hiroshige's striking design places the trunk and branches of a plum tree boldly in the foreground. The shape of this particular tree led to it becoming known as Resting Dragon Plum (Garyubai), because its branches grew so long they re-entered the earth. The viewer is obliged to look through the branches of the tree and of those behind, to see a group of visitors to the garden admiring the blossoms from behind a fence. The unusual and dramatic vantage point and bold use of colour are characteristics that inspired 19th century artists such as Vincent van Gogh, Claude Monet and James McNeill Whistler and in many cases dramatically influenced their work. This particular print was acquired by van Gogh and inspired him to such an extent that, along with A Sudden Show over Ohashi and Atake by Hiroshige, he produced his own version in oil, Flowering Plum Orchard (after Hiroshige) , 1887, now in the Van Gogh Museum, Amsterdam. Interestingly, to his painting van Gogh added a wide orange border containing inscriptions in Japanese including 'painted by the New One of Hiroshige's most well-known prints, Yoshiwara' - which bears no relation to the original print pedestrians crossing the Ohashi Bridge are taken by Hiroshige and was added to the oil painting for exotic by surprise by a sudden downpour of rain. On the embellishment. shoreline to the far left, almost completely obscured by the rain are the Atake and Honjo districts, with 梅屋舗是隅田川畔一座梅園的名字，每年春天均吸引大批遊客 the roofs of the sheds housing the shogun's boats 來賞景、浸浴在大片梅樹綻花的清香中。廣重出色的構圖設 just visible. Only thirty years after its publication, 計，將梅樹的主幹和樹枝大膽置放在前景。這棵特別梅樹的輪 an impression of this print made its way into the 廓形狀，為它獲得「臥龍梅」的美名，因為該樹的枝幹格外地 collection of Vincent van Gogh, inspiring him to paint 長，會鑽回土中。 his 1887 oil and canvas version Bridge in the Rain 欣賞這幅畫作的觀者，必須透過梅樹的枝幹看往遠方，觀照一群 (after Hiroshige), 1887, which is now in the van Gogh 造訪梅園的遊客站在柵欄後方欣賞初綻的梅花。這種獨特且充滿 Museum, Amsterdam, immortalising the print into 戲劇性的觀察位置、以及奔放的色彩配置，為荷蘭的梵谷、法國 the Western cannon of art forever. 的莫內和美國的詹姆斯．惠斯勒等19世紀印象派藝術家，帶來燦這是歌川廣重最著名的版畫作品之一。該圖以橋上一群旅發的創作靈感，而且還深深影響了他們的藝術產出。人為主題，他們被突然襲來的驟雨迫得倉皇四散。在畫作的左方是安宅和本庶區，幾乎被雨所完全遮掩，僅剩幾座這一幅畫之後由梵谷所取得，讓他靈感不斷，除了模仿了廣重安放幕府將軍船隻的草棚屋頂，還依稀得見。所繪的《大橋安宅驟雨》外，他也用油彩臨摹了一個版本，《梅樹開花》(仿廣重)，完成於1887年，藏於阿姆斯特丹的梵這幅經典藝作出版後不過30年，梵穀就獲取了該作的摹寫谷美術館。有趣的是，梵谷在自己的摹寫品上加了橘色的寬品，成為他的藏品之一，也促使他拿起畫筆，在1887年完邊框，並寫上了日文的獻詞，包括了這些文字：「由新吉原所成了布面油畫版的《雨中橋 (仿廣重)》，現在於阿姆斯特畫」。然而，這些文字與廣重所繪的原版毫無關聯，純是梵谷丹梵谷博物館藏，成為西方經典集萃中的一顆東方藝品明為作品增添異國風情所加的。珠，千古不朽。

258 A PRIVATE COLLECTION OF PRINTS FORMED IN THE 1990s A PRIVATE COLLECTION OF PRINTS FORMED IN THE 1990s 私人收藏私人收藏

495 Along with Kanbara: Evening Snow, this print 494 UTAGAWA HIROSHIGE 歌川廣重 is amongst Hiroshige's masterpieces. Here travellers and two porters carrying a client in a UTAGAWA HIROSHIGE 歌川廣重 ±JAPAN, 1797²1858³ ±日本，1797²1858³ kago [traveling chair] are forced to run through a sudden and heavy rainstorm near the town Shono: Driving Rain (Shono, hakuu) 庄野：白雨 ±JAPAN, 1797²1858³ ±日本，1797²1858³ of Shono in Ise Province. The umbrella of From the series The Fifty-three Stations of the the figure on the right has two inscriptions: 取自《東海道五十三次之内》 Kanbara: Evening Snow (Kanbara, yoru no yuki) 蒲原夜之雪 Tokaido Road (Tokaido gojusan tsugi no uchi ) Takenouchi, the publisher of the series, and Woodblock print, signed Hiroshige ga 作品上題有「廣重畫」 From the series The Fifty-three Stations of the Tokaido Road Gojusan tsugi ['Fifty-three Stations'], part of 取自《東海道五十三次之内》 Published by Takenouchi Magohachi (Hoeido) 由出版家竹內孫八所發行 (Tokaido gojusan tsugi no uchi ) Sealed kiwame (approved) 畫上的用印為「極」("通過") the title of the series. Thatched roofs of houses Woodblock print, signed Hiroshige ga 作品上題有「廣重畫」 Circa 1833-34 are visible on the right through the diagonal Published by Takenouchi Magohachi (Hoeido) 由出版家竹內孫八 (保永堂版)所出版木刻版畫 Horizontal oban: 24.6 x 36.2 cm. (9 ¼⁄¾ x 14 Ø⁄¾ in.) rain. Further adding to the sense of drama are Sealed kiwame (approved) 畫上的用印為「極」("通過") 約1833-1834年作 the dark rows of trees bent low by the wind Circa 1833-34 木刻版畫 HK$60,00080,000 across the background. Horizontal oban: 23.5 x 36.3 cm. (9 Ø⁄¾ x 14 Ø⁄¾ in.) 約1833-1834年作 US$7,70010,000 這幅也是廣重作品中的傑作之一。畫中的兩名旅客 HK$70,00090,000 這幅版畫，與《庄野：白雨》被視為《東海道五十三次和腳夫扛著坐在籠 (一種旅行用座椅) 中的乘客，經 US$9,00012,000 之內》系列中的兩幅名作。三名旅人在傍晚的皚皚落雪過伊勢區內的庄野鎮時，突然遭遇暴雨，迫得他們中跋涉前行，後方清晰可見蒲原駅白雪覆鼎的建物。拔腳快行。右邊人物所撐的傘上有兩個題字：「竹內」，是此系列的出版商；以及「東海道五十三次之內」，是系列作品名稱的片段。房子的茅草屋頂透過斜降而下的驟雨仍清晰可見。背景那一排被疾風吹彎的漆黑樹林，平添作品的戲劇張力。

260 A PRIVATE COLLECTION OF PRINTS FORMED IN THE 1990s A PRIVATE COLLECTION OF PRINTS FORMED IN THE 1990s 私人收藏私人收藏

五幅役者絵木刻版畫

歌川國貞

±日本，1786²1865³ 役者澤春田之助(飾顏世御前)和坂東龜義(飾高師直) 出自《忠臣藏》的無名系列作品上題有「國貞畫」由伊勢屋兼吉出版 1862年作

歌川豐國

±日本，1769²1825³ 中村座的役者演出

作品上題有「豐國畫」由三合屋清衛門出版約1810年代作

歌川國貞

±日本，1786²1865³ 岡部：役者嵐吉三郎飾六彌太 497 源自《東海道五十三次之内》作品上題有「豐國畫」 FIVE WOODBLOCK PRINTS DEPICTING ACTORS 由辻岡屋文助(金照堂) 出版 1852年作 496 The group comprising: 歌川國貞 UTAGAWA HIROSHIGE 歌川廣重 The Satta Pass was constructed by the UTAGAWA KUNISADA ±JAPAN, 1786²1865³ UTAGAWA KUNISADA ±JAPAN, 1786²1865³ Shogunate in 1655 to improve the journey The Actors Sawamura Tanosuke (as Kaoyo Gozen) and The Actor Kawarazaki Gonjuro in the Role of Shinozuke ±日本，1786²1865³ ±JAPAN, 1797Ù1858³ ±日本，1797²1858³ along a part of the Tokaido which previously Bando Kamezo (as Ko no Moronao) Goro 役者河源崎權十郎扮演篠塚五 would have required travelling along the From an untitled series of The Storehouse of Loyal From the series Seven Komachi No. 17, Yui: The Frightful Satta Pass 十七由井：駭人的薩多嶺源自《七小町》系列 treacherous rocky shoreline at low tide, Retainers (Chushingura) Signed Toyokuni ga, 1864 作品上題有「豐國畫」 (Yui, Satta-mine oya shirazu) shown at the base of the cliffs in this print. Signed Toyokuni ga, published by Iseya Kanekichi, 1862 1864年作取自《東海道五十三次之內》 Mount Fuji can be seen rising up in the From the series Famous Sights of the Fifty- 作品上題有「廣重畫」 UTAGAWA KUNISADA distance, partially obscured by a group of ±JAPAN, 1786²1865³ three Stations (Gojusan tsugi meisho zue ) 由竹內孫八 (保永堂版) 出版 UTAGAWA TOYOKUNI ±JAPAN, 1769²1825³ 歌川國貞 Woodblock print, signed Hiroshige ga windswept trees clinging to the rock edge. No. 47, from the series Magic Lantern Slides of That 畫上的用印為「極」("通過") An actor in a Production at the Nakamura Theatre Romantic Purple Figure (Sono sugata yukari no Published by Tsutaya Kichizo (Koeido) Travellers are shown ascending the long ±日本，1786²1865³ 用印日期：兔年7月(1855年7月) utsushi-e) Sealed kiwame (approved) slope up the cliff and ships are along the Signed Toyokuni ga, published by Mikawaya Seiemon, 四十七 Date seal: Hare 7 (7/1855) 木刻版畫 Signed Toyokuni ga, published by Izumiya Ichibei coastline. circa 1810s (Kansendo), 1852 源自《其姿紫の写絵》系列 Vertical oban: 37 x 25.5 cm. (14 ⅝ x 10 in.) 1855年作作品上題有「豐國畫」 1655 薩多嶺是年的幕府時代所建，為的是要改 Each oban: 由和泉屋市兵衛(甘泉堂)出版 HK$15,00020,000 UTAGAWA KUNISADA 1852 善東海道這一區的旅況；在工程完成以前，旅人 ±JAPAN, 1786²1865³ 36.5 x 25.5 cm. (14 ⅜ x 10 in.) 年作 US$2,0002,600 必須在潮退時期於怪石嶙峋的岸線地區小心前 Okabe: the Actor Arashi Kichisaburo III as Rokuyata 36.5 x 25 cm. (14 ⅜ x 9 ⅞ in.) 35 x 24 cm. (13 Å⁄Ç x 9 È⁄Ç in.) 行，過程險象環生。畫面中的山壁腳栩栩呈現了 From the series Fifty-three Stations of the Tokaido Road HK$15,00020,000 35.5 x 23.8 cm. (14 x 9 ⅜ in.) 這條岸線的險狀。遠眺可見富士山，而攀著嶙峋 (Tokaido gojusan tsugi no uchi ) 22.5 x 34.5 cm. (8 ⅞ x 13 ⅝ in.) (5) US$2,0002,600 岩石的樹叢，被疾風吹掃著，遮掩了山巒部分輪 Signed Toyokuni ga, published by Tsujiokaya Bunsuke (Kinshodo), 1852 廓。旅人們沿著懸崖漫長的斜坡踽踽爬行，岸線旁還點綴著船舟數艑。 262 PROPERTY OF AN ENGLISH COLLECTOR 英國收藏

499 UTAGAWA TOYOHIRO 歌川豐廣 ±JAPAN, 1773²1828³ ±日本，1773²1828³ Three Views of Japan (Nihon san kei) 日本三景

Woodblock print, signed Ichiryusai Toyohiro ga 作品上題有「一勇齋豐廣畫」 Privately published, circa 1810s 獨立出版 Embellished with metallic pigments and 金屬顏料浮雕花飾木刻版畫 embossing Shikishiban surimono: 21.4 x 19 cm. (8 ⅜ x 7 ½ in.) 約1810年代作

HK$20,00030,000 US$2,6003,800

The title of this print refers to the 'Three Great Beauty Spots' - Itsukushima shrine on Miyajima Island (instantly recognisable by its Torii gate in the sea), the sandbar of Amanohashidate and the pine-covered islands of Matsushima. Each of these is depicted within a shaped cartouche on the print. As travel for purposes of pilgrimage and sightseeing increased, so did the popularity of such picturesque sites, providing the subject matter for many works of art during the Edo period. 這幅作品的標題，等同對「日本三個絕美景點」的一場禮讚：宮島上的嚴島神社(該景點矗立在海上的鳥居，能讓人一眼就認出這景點)、天橋立的沙洲、以及松島町上被蓊鬱松樹所覆滿的群島。這三個景點的每一個，在版畫上均以具有形狀的象形繭所描繪而成。隨著朝聖之旅和賞景行程開始盛行，這種以美景取材的作品也變得更為普及，成為江戶時代許多藝術作品的主題。

498 KATSUSHIKA HOKUSAI ±JAPAN, 1760²1849³ The Japanese nobleman and poet Abe no 500 Nakamaro (698-770) stands on a hill looking Poem by Abe no Nakamaro out over the sea, accompanied by a number of YASHIMA GAKUTEI 八島岳亭 From the series One Hundred Poems Explained by the Nurse attendants. Abe no Nakamaro composed the (Hyakunin isshu uba ga etoki ) accompanying poem in China, in his longing for ±JAPAN, 1786?Ù1868³ ±日本，1786²1868³ Woodblock print, signed Saki no Hokusai Manji home: Published by Iseya Sanjiro (Eijudo) Mirror Case and Mirror 鏡盒與鏡 Circa 1835-36 Amanohara furisake mireba Horizontal oban: 25.7 x 37.2 cm. (10 ⅛ x 14 ⅝ in.) Kasuga naru For the Horinouchi Club, with poem by 獻給崛之內俱樂部， Hitsukatsutei Kusanari Mikasa no yama ni 由Hitsukatsutei Kusanari題詩 Woodblock print, signed Gakutei HK$70,00090,000 ideshi tsuki ka mo 作品上印有「岳亭」 Artist's seal: Yashima US$9,00012,000 Privately published, circa 1820 畫師之印：「島」 It might be the moon that shone Embellished with metallic pigments and 金屬顏料浮雕花飾木刻版畫 above Mount Mikasa in Nara embossing 約1820年作 Shikishiban surimono: 21.2 x 18.6 cm. 葛飾北齋 that I see in this faraway land (8 ⅜ x 7 ⅜ in.) ±日本，1760²1849³ when now I look across the vast fields of the stars. HK$12,00018,000 阿倍仲麻呂之詩 US$1,6002,300 日本貴族和詩人阿倍仲麻呂 (698-770年)佇立在山巔，源自《百人一首乳母かゑとき》系列遠眺大海，身旁數名僕人隨侍著。他在中國遣唐時期寫作品上題有「前北齋為一筆」由伊勢屋三治郎(永壽堂)出版下了隨筆詩，以賦鄉愁：木刻版畫仰首望長天，神馳奈良邊；約1835-1836年作三笠山頂上，想又皎月圓。

264 PROPERTY OF AN ENGLISH COLLECTOR PROPERTY OF AN ENGLISH COLLECTOR 英國收藏英國收藏 501 503 YASHIMA GAKUTEI 八島岳亭 TOTOYA HOKKEI ±日本，1786²1868³ ±JAPAN, 1786?²1868³ ±JAPAN, 1780²1850³ Number one: Two dancers 第一號：二舞者 A Chinese Princess Gazing into a Mirror

From the series The Dance at Furuichi for the 源自《為久型屋組的古市之舞》 Woodblock print, signed Hokkei Hisakataya Group (Hisakataya furuichi odori ) 作品上題有「岳亭定岡筆」 Privately published, 1820s Woodblock print, signed Gakutei Sadaoka hitsu 金屬顏料浮雕花飾木刻版畫 Embellished with metallic pigments and embossing Privately published, circa 1822 約1822年作 Shikishiban surimono: 21 x 18.6 cm. (8 ¼ x 7 ⅜ in.) Embellished with metallic pigments and embossing HK$15,00020,000 Shikishiban surimono: 20.7 x 18.5 cm. (8 ⅛ x 7 ¼ in.) US$2,0002,600

HK$14,00016,000 魚屋北溪 US$1,8002,100 ±日本，1780²1850³

公主端詳鏡中人 In this print, from a set of five, two geisha are depicted 這組作品共包含5個畫卷，這一幅描寫的作品上題有「北溪」 dancing on a stage at Gissharo, a large establishment 是兩名藝伎登上牛車樓舞台上獻舞技; 這金屬顏料浮雕花飾木刻版畫 in the town of Furuichi located between the shrines 地點是古市區一個大型劇場，座落於山田 1820年代作 of Yamada and Uji. Pilgrimages to the Great Shrines 神社和宇治神社之間。在1820年代，前 at Ise became extremely popular during the 1820s, 往伊勢大神社的朝聖之旅變得極受歡迎， with travellers often staying overnight at the inns and 香客們經常會在該地的旅店和妓院過夜。 brothels in the area. The carriage wheels decorating 裝飾著燈籠的馬車輪、以及舞台邊緣的細 the lanterns and the side of the stage are the emblem 節，是這劇院的標章;而牛車樓的意思正 of the house, whose name Gissharo means 'Ox-drawn 是「牛拉四輪車」。 Carriage'.

502 KATSUSHIKA HOKUSAI 葛飾北齋 ±JAPAN, 1760²1849³ ±日本，1760²1849³

Horse Shells (Umagai) 馬之形殼 From the series A Selection of Horses ( Uma- 源自《大繪馬選集》系列 zukushi) 504

Woodblock print, signed Fusenkyo Iitsu hitsu 作品上題有「不染居為一」 Privately published, 1822 金屬顏料浮雕花飾木刻版畫 UTAGAWA KUNISADA 歌川國貞 Embellished with metallic pigments and 1822年作 embossing ±JAPAN, 1786²1865³ ±日本，1786²1865³ Shikishiban surimono: 20.6 x 18.3 cm. (8 ⅛ x 7 Ø⁄¾ in.) Two Actors Fighting in a Night Scene 兩名役者夜鬥

The actors Ichikawa Danjuro VII and Iwai Kumesaburo II HK$15,00020,000 1832年，演員七代目市川團十郎，和岩井粂三郎在河原崎座 in a night scene from the play Tayoriari gohiiki no tsuna , 演出「Tayoriari gohiiki no tsuna」劇中的一場夜間場景 US$2,0002,600 performed in 1832 at the Kawarazaki Theatre Woodblock print, each sheet signed Kochoro Kunisada ga 每一繪卷都簽有「香蝶樓國貞畫」 Privately published, 1833 金屬顏料浮雕花飾木刻版畫 (雙聯作) Embellished with metallic pigments and embossing 1833年作 Shikishiban surimono diptych: each sheet approx. 20.6 x 18.7 cm. (8 ⅛ x 7 ⅜ in.) (2) HK$18,00022,000 US$2,4002,800

266 506 507 UTAGAWA HIROSHIGE II UTAGAWA HIROSHIGE II ±JAPAN, 1826Ù1869³ ±JAPAN, 1826Ù1869³ Kintai Bridge at Iwakuni in Suo Province (Suo iwakuni Shimofuri Waterfall in Nikko (Nikko shimofuri no taki)

kintai-bashi) From the series One Hundred Views of Famous Places in the Provinces (Shokoku meisho hyakkei ) From the series One Hundred Views of Famous Places in the Woodblock print, signed Hiroshige ga Provinces (Shokoku meisho hyakkei ) Published by Uoya Eikichi, 1859 Woodblock print, signed Hiroshige ga Sealed: aratame Goat 10 (10/1859) Published by Uoya Eikichi, 1859 Vertical oban: 36.5 x 25.5 cm. (14 ⅜ x 10 in.) Sealed: aratame Goat 11 (11/1859) 505 Vertical oban: 37.3 x 25 cm. (14 ⅝ x 9 ⅞ in.) HK$15,00020,000 UTAGAWA HIROSHIGE 歌川廣重 HK$20,00030,000 US$2,0002,600 ±JAPAN, 1797²1858³ ±日本，1797²1858³ US$2,6003,800

Shimotsuke Province: Mount Nikko, Urami Waterfall 下野日光山裏見ノ瀧二代目歌川廣重二代目歌川廣重 (Shimotsuke, Nikkosan, Urami no taki) ±日本，1826²1869³ ±日本，1826²1869³ 取自《六十余州名所図会》 From the series Famous Places in the Sixty-odd Provinces 作品上題有「廣重筆」周防岩國錦帶橋日光霜降之滝 (Rokujuyoshu meisho zue ) 由越村屋平助(越平)出版 Woodblock print, signed Hiroshige hitsu 用印日期：牛年8月(1853年8月) Published by Koshimuraya Heisuke (Koshihei) 源自《諸國名所百景》源自《諸國名所百景》審查員之印：衣笠(衣笠房次郎) 和村田(村田佐兵衛) Date seal: Ox 8 (8/1853) 作品上題有「廣重畫」作品上題有「廣重畫」 Censors' seals: Kinugasa (Kinugasa Fusajiro) and Murata 木刻版畫由魚谷榮吉出版由魚谷榮吉出版 (Murata Heiemon) 1853年作用印日期：改為羊年11月(1859年11月) 用印日期：改為羊年10月(1859年10月) Vertical oban: 35.5 X 24.5 cm. (14 x 9 ⅝ in.) 木刻版畫木刻版畫 1859年作 1859年作 HK$25,00035,000 The beautiful 'Bridge of the Brocade Sash' (Kintai-bashi) spanned the Nishiki US$3,3004,500 River in Iwakuni province and here is shown during heavy snowfall. Built in 1673, it was one of the most famous bridges of the provinces. 風情萬千的「錦帶橋」，橫跨於岩國省的錦川之上；藝術家在天降大雪之 268 際捕捉到這幅美景。錦帶橋建於1673年，是所有省區中最負盛名的橋樑。 PROPERTY OF A EUROPEAN COLLECTOR 歐洲收藏

508 UTAGAWA KUNIYOSHI 歌川國芳 In this extremely rare print, Miyamoto Musashi (1583-1647), 在這幅罕見的版畫中，以精湛劍術聞名、同時也是二刀流始祖 famed as a sword master and inventor of the two-sword 的宮本武藏(1583-1647年)，將一把精銳無比的長劍插入一隻巨 17971861 JAPAN, 17971861 日本， style of fencing (nito-ryu), is shown plunging his sword into 鯨體內，而場景設在當時的肥後國(也就是現在的熊本縣)。此作 a giant whale off the coast of Higo (present-day Kumamoto 構圖奔放大膽，當宮本武藏打退了巨鯨的那一剎那，將人獸爭 Miyamoto no Musashi Attacking the Giant Whale 宮本武藏之鯨退治 prefecture). A strikingly bold composition which creates 鬥的緊張和戲劇性帶向高潮。大師處理主題情節的手法精湛， Woodblock print, signed Ichiyusai Kuniyoshi ga a strong sense of drama and tension at the moment that 作品上題有「一勇齋國芳畫」讓巨鯨的龐大體型幾乎是全然佔滿三聯畫布空間，僅餘少許空 Artist's seal: Yoshikiri Miyamato Musashi subjugates the whale. Kuniyoshi achieves 由川口屋昭三所發行間描繪滔天巨浪、和右上方空間一抹灰濛不祥的暗空。巨鯨背 Published by Kawaguchiya Shozo, 1847-50 this brilliantly by almost completely filling the space allowed by 上的漸層黑色表現，則要歸功於一種稱之為擦磨色板的技巧。 Censor's seals: Murata (Murata Heiemon) and Mera (Mera Taichiro) 審查員之印：村田 (村田平衛門)和目良(目良太一郎) the triptych format with the body of the giant whale, allowing Oban triptych: each sheet 36 x 24.5 cm. (14 ¼ x 9 ⅝ in.) (3) 木刻版畫 (三聯作) just enough space around for the turbulent sea and a rather 1847-1850年作 ominous sky at the upper right. The black tonal gradation on HK$500,000 800,000 the whale's back is produced with a technique of abrading the US$65,000 100,000 printing block called ita-bokashi. 270 PROPERTY OF A EUROPEAN GENTLEMAN PROPERTY OF A EUROPEAN GENTLEMAN 歐洲收藏歐洲收藏

509 510 UTAGAWA KUNIYOSHI The warrior Minamoto no Tametomo (1139-70) (Genji) was defeated in the Hogen JAPAN, 17971861 rebellion (1156) fought between the factions of the retired Emperor Sutoku and Emperor UTAGAWA KUNIYOSHI The Former Emperor [Sutoku] from Sanuki Sends His Go-Shirakawa. As a result he was exiled to Izu, Oshima, but then escaped to Kyushu and JAPAN, 17971861 formulated a plan to vanquish the Taira clan (Heike). As part of this plan he set sail to Retainers to Rescue Tametomo (Sanuki no in kenzoku Kyoto, but during the journey encountered a storm and was shipwrecked. He was then The Battle of Dan-no-ura (Dan-no-ura tatakai no zu) o shite Tametomo o sukuu zu) rescued by the retired Emperor Sutoku's descendants and makes it ashore on the Ryukyu Woodblock print, each sheet signed Ichiyusai Kuniyoshi ga Islands. Published by Kogaya Katsugoro, circa 1844 Woodblock print, each sheet signed Ichiyusai Kuniyoshi ga Censor seal: Yoshimura (Yoshimura Gentaro) Published by Sumiyoshiya Masagoro, circa 1851-52 In this work, Kuniyoshi has ingeniously combined three episodes from the Oban triptych: each sheet approx. 36.4 x 24.9 cm. Censors' seals: Watanabe (Watanabe Shoemon) and Mera (Mera same story onto one triptych. On the left sheet is Tametomo adrift in his boat (14 ⅜ x 9 ⅞ in.) (3) Taichiro) surrounded by descendants of retired Emperor Sutoku who appear as tengu Oban triptych: each sheet approx. 34 x 24 cm. (13 ⅜ x 9 ½ in.) (3) (mythical creatures in the form of half bird, half man), who have come to rescue HK$40,000 60,000 him. The centre sheet shows Kiheiji, Tametomo's retainer, with Tametomo's son HK$120,000 180,000 US$5,200 7,700 in his arms, on the back of a giant 'crocodile-shark'. At first the creature tried to US$16,000 23,000 kill them, but was pacified and rescued them from drowning. On the right sheet, PROVENANCE Tametomo's wife, Princess Shiranui, in an unsuccessful attempt to calm the storm 1 Sylvia Lacan (1908-1993) and thence by descent to the present owner. PROVENANCE has thrown herself into the waves as a sacrifice. The battle of Dan-no-ura was a major sea battle during the Genpei War Sylvia Lacan (1908-1993) and thence by descent to the present owner. Sylvia Lacan was married to the French intellectual Georges Bataille, (1180–1185). On the 25th April, 1185, the fleet of the Minamoto clan (Genji), The drama of the scene is cleverly enhanced by the printer using various Sylvia Lacan was married to the French intellectual Georges Bataille, then the psychoanalyst Jacques Lacan. led by Minamoto no Yoshitsune, defeated the fleet of the Taira clan (Heike). techniques including bokashi and the sense of realism is further enhanced by then the psychoanalyst Jacques Lacan. The hero Taira no Tomomori (1152-82) on the brink of defeat, threw himself adding splashes of gofun (powdered white shell) by hand after printing, to indicate 歌川國芳 into the sea tied to a huge anchor and drowned. Here he is shown in the spray from the tempestuous waves. 日本，17971861 centre of the design about to throw himself from the rocks. To his left is 歌川國芳 1 T. Clark, Kuniyoshi: From the Arthur R. Miller Collection, (Royal Academy of Arts, 2009), cat. 29, p. 84-5. his retainer Sagami Goro and on his right is his mistress Tenji no tsubone. 日本，17971861 武將源為朝(1139-1170年)(源氏)在保元之亂(1156年)中吞下敗仗，該戰事是崇德上皇和後壇之浦戰圖 This episode was a popular subject for numerous print artists including 白河天皇兩派的爭鬥。源為朝因擁護崇德上皇而被放逐到伊豆大島，爾後逃到九州，策劃 Katsukawa Shunsho (1726-1792) and Utagawa Kunisada (1786–1864), with 贊岐院眷屬救為朝圖每一聯均題有「一勇齋國芳畫」要征服平氏(平家)。他依照計畫乘船到京都，卻在航程中遭遇風暴，船沉大海。崇德上皇 Kuniyoshi himself designing numerous prints based on the subject. 由住吉屋政五郎出版的後裔前來搭救，一班人馬安全抵達琉球群島。每一聯均題有「一勇齋國芳畫」審查員之印：吉村(吉村源太郎) 壇之浦大戰是源平合戰(始自1180年，至1185年終)中一場主要海上戰事。在由住吉屋政五郎出版在這幅作品中，歌川國芳巧妙地結合了同一故事中的三種情節，呈現在三聯畫的構圖中。木刻版畫(三聯作) 1185年4月25日，源為家族(源氏)的海上軍隊，在源義經的帶領下擊敗了平審查員之印：渡邊(渡邊庄右衛門)和米良(米良太一郎) 在最左方，源為朝躲在船上，於海面載浮載沉，而崇德上皇一群子孫們以天狗(一種半人半約1844年作氏家族(平家)。英雄平知盛(1152-1182年)，在面對敗仗之際，將自己綁在一木刻版畫(三聯作) 鳥的傳奇生物)之姿出現搭救。中間聯以源為朝的家臣磯兵次為主角，他手抱著源為朝之只巨錨上，躍入怒海中自盡。大師將平知盛擺在畫中央，準備一頭栽向大石約1851年至1852年作子，乘坐在一隻巨型的鱷魚鯊背上。在最右聯，源為朝的妻子，不知火公主，躍身入海犧來源上。他的左方是家臣佐上五郎，右方則是情婦天智能局。這一個情節向來備牲自己，試圖平息暴風雨；然而，她的犧牲因失敗而枉然。原藏家Sylvia Lacan女士(1908-1993年)家屬收藏受版畫大師們的喜愛，其中包括勝川春章 (1726年生，1792年歿)和歌川國來源 Sylvia Lacan女士前任丈夫為法國學者喬治．巴塔耶，繼任丈夫為貞(生於1786年，1864年歿)等，而國芳更是根據這個主題創作了許多神妙刷版師採用各種印刷技巧，包括了擦磨色板等，來凸顯場景的戲劇性；在完成印刷之後，原藏家Sylvia Lacan女士(1908-1993年)家屬收藏心理學家雅各．拉岡傑作。 Sylvia Lacan女士前任丈夫為法國學者喬治．巴塔耶，繼任丈夫為他還用手揮潑白色貝殼粉於畫面上，來強化故事的臨場感，以表示怒濤所掀起的水花。 272 心理學家雅各．拉岡 PROPERTY OF A EUROPEAN GENTLEMAN PROPERTY OF A EUROPEAN GENTLEMAN 歐洲收藏歐洲收藏

511 512 UTAGAWA KUNIYOSHI UTAGAWA HIROSHIGE JAPAN, 17971861 JAPAN, 17971858 Taira no Kiyomori (1118-1181) was a military leader Nitta no Shiro Tadatsune and the White Dragon Ghost Taira no Kiyomori Haunted by Strange Sights during the late Heian period. Towards the end Woodblock print, left and middle sheets signed Ichiyusai Kuniyoshi ga , (Taira Kiyomori kaii o miru zu) of his life he was tormented by the idea that the right sheet signed Chooro Kuniyoshi ga Woodblock print, left sheet signed Hiroshige ga, right sheet ghosts of the enemies he had killed would come Published by Tsujiya Yasubei, circa 1844 signed Ichiyusai Hiroshige ga back to take retribution, and in this print he is Censor seal: Yoshimura (Yoshimura Gentaro) Published by Ibaya Kyubei (Kinseido), circa 1845 depicted in one such hallucination. Kiyomori Oban triptych: each sheet approx. 34.9 x 24.5 cm. (13 ¾ x 9 ª⁄¬ in.) (3) Censor seal: Watari (Watanabe Jiemon) stands on the veranda of his palace looking out Oban triptych: 36.2 x 76.1 cm. (14 ¼ x 30 in.) (whole triptych) HK$40,000 60,000 over the snow-covered garden, his lover cowering to the side. In his madness the snow-covered trees, US$5,200 7,700 HK$30,000 50,000 stone lanterns and rocks have been transformed US$3,900 6,400 into skulls and skeletons. As is often the case PROVENANCE in Japanese prints, this depiction of Kiyomori is Sylvia Lacan (1908-1993) and thence by descent to the present owner. Sylvia PROVENANCE based on a popular theatrical performance – where Lacan was married to the French intellectual Georges Bataille, then the Sylvia Lacan (1908-1993) and thence by descent to the present the Osaka-based kabuki actor Nakamura Utaemon psychoanalyst Jacques Lacan. owner. Sylvia Lacan was married to the French intellectual IV (1769-1852) plays the role of Kiyomori, and who Georges Bataille, then the psychoanalyst Jacques Lacan. performed this role in the first month of 1845. 歌川國芳公卿平清盛(1118-1181年)是日本平安時代晚期的一名日本，17971861 Nitta no Shiro Tadatsune was sent by the Emperor to eliminate 歌川廣重武將。晚年時期，他備受玄幻思緒所攪擾，覺得他之 the monsters hiding in Mount Fuji. This print depicts him 日本，19791858 前所征服的敵人，其亡魂會回頭找他報復；在這幅畫仁田忠常及白龍怪 having bravely advanced into a cave within the slope of the 中，平清盛正處於這種恐懼幻覺中。他站在皇宮的遊 mountain, where he encounters the goddess and her dragon. 左聯和中聯上題有「一勇齋國芳畫」，右聯題有「朝櫻樓國芳畫」平清盛驚魂記廊眺望白雪厚蓋的花園，他的情人蜷縮在旁。在平清 Unlike his retainers (who have dramatically been overcome 由辻屋安兵衛出版盛的瘋狂幻象裏，所有白雪覆蓋的樹、石作燈籠和造 and collapsed on the right), Tadatsune is not afraid, standing 左聯題有「廣重畫」，右聯題有「一勇齋廣重畫」審查員之印：吉村(吉村源太郎) 景岩變成了骷髏和骸骨。 defiantly on rocks whilst drawing his sword ready to defend 由井早久兵衛(金正堂)所出版木刻版畫(三聯作) himself, and the goddess praises him for his bravery. 審查員之印：渡里(渡邊治衛門) 此主題相承於日本版畫傳統，大師對平清盛的描寫，約1844年作 – 仁田忠常奉天皇之令，身負重任前往除去躲藏在富士山的妖怪。木刻版畫(三聯作) 是根據一場備受觀眾喜愛的戲劇演出來自大阪的著約1845年作名歌舞伎中村歌右衛門四代目 (1769-1852年)扮演平清來源這幅畫描寫他藝高人膽大，深入山坡洞口，在那兒遇見了女神和盛。他在1845年元月擔綱演出此角。原藏家Sylvia Lacan女士(1908-1993年)家屬收藏她的護身龍。有別於他的家臣(他們均被戲劇性地征服，癱在畫面來源 Sylvia Lacan女士前任丈夫為法國學者喬治．巴塔耶，繼任丈夫為心理學家右方)，仁田忠常卻毫無所懼，凜然站在岩石上，拔劍準備自衛，原藏家Sylvia Lacan女士(1908-1993年)家屬收藏雅各．拉岡在此時，女神對他的英勇表示衷心讚賞。 Sylvia Lacan女士前任丈夫為法國學者喬治．巴塔耶，繼任丈夫為心理學家雅各．拉岡 274 513 TSUKIOKA YOSHITOSHI JAPAN, 18391892 Cho Jun, the White Stripe in the Waves, Wrestling in the River with Ri Ki, the Black Whirlwind (Ronhakucho Chojun kokusenpu Riki kochu ni tatakau no zu)

Woodblock print, signed Oju Yoshitoshi hitsu Artist's seal: Taiso Published by Matsui Eikichi, 1887 Vertical oban diptych: 38 x 26 cm. (15 x 10 ¼ in.) (2)

HK$40,000 60,000 US$5,200 7,700

月岡芳年日本，18391892

浪裡白跳張順黒施風李逵江中戦図

作品上題有「廣呂芳年筆」藝術家用印：「大蘇」由松井栄吉出版木刻版畫 (雙聯作) 1887年作

This dynamic vertical diptych shows Rorihakucho Chojun (a strong swimmer) wrestling underwater with the famous warrior Kokusenpu ('Black Whirlwind') Riki, who was known to be a weak swimmer. This is the first edition without the publisher or date. The second publishing includes these details and the print was then later re-published by a different publisher (Hasegawa Tsunejiro) later in 1887. 這幅生動卓絕的雙聯畫，讓觀者身歷其境，體驗浪裡白跳張順(高 514 超的泳將)在水中與著名的戰士–黑施風 ("黑旋風")李逵的搏鬥，後者據知不擅游泳。此畫是第一版，沒有出版商也沒有註明日期。 ITO SHINSUI 伊東深水第二版則包括了這些細節，而本繪卷之後由另一名出版商在1887 年(長谷川常治郎)所發行。 JAPAN, 18981972 日本，18981972

Make-up (Kesho) 化妝 From the series Twelve Images of Modern Beauties 源自《新美人十二姿》 (Shin bijin juni sugata ) Woodblock print, signed Shinsui saku 作品上題有「深水作」 Artist's seal: Ito 藝術家用印：「伊東」 Published by Watanabe Shozaburo 由渡邊勝三郎出版 Dated: Taisho juichinen haru [Spring, Taisho 11 (1922)] 完成日期：大正十一年，春(1922年) Vertical oban: 43.3 x 27.2 cm. (17 x 10 ¾ in.) 木刻版畫 1922年作 HK$30,000 40,000 US$3,900 5,100

Ito Shinsui (1898-1972) was an important member of the Shin-hanga 伊東深水 (1898-1972年) 是日本新版畫運動的重要推手，這風潮在 movement, which revitalised the traditional art of woodblock printing after 20 世紀初衰退之前，曾經成功地復興了木刻版畫傳統精神。伊東深 it started to decline in the early 20th century. Although he produced some 水雖然畫過許多優美的風景版畫，但他還是以細膩婷嫋的美人圖著 notable landscape prints, he became primarily known for his depiction of beautiful women (Bijinga), to which he imparted a unique, lyrical style. 稱 (美人畫)，風格獨特且充滿詩韻，無出其右。

276 515 YUICHI INOUE 井上有一 ±JAPAN, 1916²1985³ ±日本，1916²1985³

Hana (Flower) 花 ink on Japanese paper 日本和 145.1 x 200 cm. (57 ⅛ x 78 ¾ in.) 1967 Painted in 1967 年作

HK$420,000620,000 US$54,00079,000

PROVENANCE 來源 Private Collection, Europe 歐洲人收藏

EXHIBITED 1995年「有一花 Tsuki Tori Kaze 」 Tokyo, Japan, YU-ICHI Hana Tsuki Tori Kaze Exhibition, The Azabu Museum of 藝術藝東日本 Arts and Crafts, 1995

LITERATURE 1998年《井上有一 1949-1985 (一1949- Masaomi Unagami (ed.), YU-ICHI (Yu-ichi INOUE): catalogue raisonné of 1969) 》上雅臣 UNAC 東東日本 (圖版， the works, 1949-1985 (Vol. 1 1949-1969), UNAC TOKYO, Tokyo, Japan, 1998 67021圖，474) (illustrated, plate 67021, p. 474).

"For Yuichi Inoue, every Chinese character and supernatural realms". It was reflected in 對井上有一，每一承著無的 ('Kanji') contained infinite meaning and his quest to restore traditional calligraphy to ，得用去寫。雖然早在五十年 deserved to be calligraphed with the utmost its purest simplicity rather than an emphasis 代，井上有一經．象表 vigour of one's life. As early as in the 1950s, on dazzling techniques. He depicted single 主大師出，受國藝壇的目，他 Inoue's work came to international spotlight as Chinese characters in larger-than-life strokes, 卻有日本中對「」本源的 it was exhibited alongside the work of Abstract bringing calligraphy back to the most primitive 入象的覺遊戲。他為「是 Expressionist masters like Jackson Pollock. and pure act of writing. 驚天地、神的性之」，於是於 However, he never turned away from the 'Flower' carried special significance for Yuichi 傳統，著於。他 dedication to 'Kanji' as the origin of the art in Inoue. In 1945, the primary school where 地大筆，描，法回 Japanese calligraphy, and it led him to voyage Inoue worked as a teacher was hit during the 人原的寫行為中。 into pure abstraction. He believed "words are U.S. air raids. Inoue miraculously survived the 「花」對井上有一有著特的。1945年井上 spiritual beings that can move the earthly attack and woke up after being unconscious for half a day. In his unconscious state, 有一的學美，井上日 he had a vision of delicate flowers falling. ，之中，他前是花之 From then on, the artist embraced a lifelong ，自此一情寫姿各的「花」， passion for writing the character for 'flower' 至將女名為「花」Hana，在1971年成作 in different expressions, and he even named 品《花之》。本幅1967年作的《花》( his eldest daughter Hana 'Flower'. In 1971, 品515)，以的於上，在 he published the collection Hana no shocho 每一筆中成水的，的 (Album of Works with the Character Hana). 浪花示出井上作時的動和， Hana (Flower) (Lot 515) was executed in 1967, 以象他在寫《花》時是的情， the thick, grey black ink runs and turns on the 一場對的朝。 paper. Every stroke evokes ripple-like textures, while the wave-like ink dots illuminate the sense of movement and strength that flowed through Inoue's act of art-making. One can imagine the incredible passion with which he calligraphed Hana (Flower), as if it was a pilgrimage to life. Yuichi Inoue in his studio. Photo: Courtesy Unac Tokyo 創作中的上有一

270 Ryuzaburo Umehara was born in Kyoto to a cloth-dyer family, and from a young age was influenced by the rich colours and patterns of Japanese dyed fabrics, which resulted in his sensitivity to colours and Japanese aesthetics. 15-year-old Umehara embarked on his artistic journey in 1903 when he settled in Europe and studied painting under Impressionist master Renoir. His resulting expert command of colours was praised by Pierre-Auguste Renoir, who praised him for his painting that "possessed a unique personal style". In 1913, Umehara returned to his homeland and established the Nikakai (Nika Association) and the Shunyokai 516 (Spring Principle Association) with Japanese contemporaries who had also returned from Europe, together furthering a shift towards RYUZABURO UMEHARA 原龍三郎 Japanese aesthetics in oil painting. This proved 原龍三郎出於的一世家，自受日 ±JAPAN, 1888²1986³ ±日本，1888²1986³ highly influential to the development of oil 517 藝富的，其對日 painting in Japan and in Taiwan. 美學常。 Roses 圖 RYUZABURO UMEHARA 原龍三郎 Ryuzaburo Umehara had a deep fascination 1903年，15的原心上畫之， signed, titled and inscribed in Japanese with exploring the potentials of Japanese oil ±日本，1888²1986³ 金於木 ±JAPAN, 1888²1986³ 歐，入印象大家耶-特．名 (on the reverse) painting, while also being taken with Western ：図原龍三郎寫 (畫) ，其對的出，被盛讚「獨 oil on gold paper mounted on board Expressionism and Fauvism; he combined Roses 40.9 x 31.9 cm. (16 ⅛ x 12 ½ in.) 藝術家印二 (左；畫) 人」。1913年，國的原時期 the exuberant stylistics of both schools of art two seals of the artist (lower left and on the signed 'R.U.' (lower left) 歐的日本畫家一發「二會」及「春 and the decorative aesthetics of Japanese 畫於木 reverse) oil on canvas laid on board ：R.U. (左) 會」，於畫的日本化，對日本至的 Momoyama Period art in his works, producing 61.3 x 43.8 cm. (24 ⅛ x 17 ¼ in.) 畫藝術發了深的。 HK$80,000160,000 bright colours and vivid, lively images. To enhance the localisation of oil painting, HK$130,000230,000 原龍三郎日畫的，深受方表主 US$11,00021,000 Umehara went back to the very roots of US$17,00029,000 及的他將這種畫中的 paintingthe mediaby replacing oil-painting 風格日本山時代藝術的性相， PROVENANCE 來源 canvases with Japanese washi paper in his ，造寫動。為了推動畫的一本 Private Collection, Japan 日本人收藏 PROVENANCE 來源 works, and mixing oil paint with the mineral 化，原還畫的手，以日本和 This work is accompanied by a Certiﬁcate of 此作品原龍三郎會發之 Private Collection, Japan 日本人收藏 paint that was particular to Japan. This lent his 畫，在中日本特有的， Registration issued by Association Ryuzaburo ( 254) This work is accompanied by a Certiﬁcate of 此作品原龍三郎會 images a unique veneer that stands out from Umehara under the registration number 254. Registration issued by Association Ryuzaburo 發之 ( 253) 得畫面平常畫的特理。 other oil paintings of its kind. Umehara under the registration number 253. 272 YASUO SUMI 見夫

Yasuo Sumi joined the Gutai Art Association one container of paint after another across 見夫1955 年入「藝術運動」。他 in 1955. He helped engender many new the picture space, he then self-indulgently 新畫方法和作，以動、、 possibilities in painting: He was an active steps onto the painting, kneels down, and uses 傳統日作畫，在的上作畫，畫 innovator in painting techniques and various tools and his own two hands to spread 、本、至，見《，見夫 2》( implements, using such items as vibrators, the the pigments around. Umbrellas, abacuses, 品520)，大大畫的性。見 soroban (Japanese abacus) and the traditional and vibrators are smeared with oil, then rolled 夫日本國及重要，1993 Japanese umbrella. He painted on a variety of across the painting surface to create flowing, 年「45雙年」。他在「」 media too e.g. canvas, paper, and even net, repetitive patterns. This sort of mechanically 作，本昭三常被一前往 as in Net-work, Yasuo Sumi 2 (Lot 520), driven repetition would be almost impossible 歐洲、美洲表演作畫。《Magi 920》(品 releasing endless possibilities of painting. Yasuo to reproduce by hand. Yet, it is exactly Yasuo 519)正正作於二人2008年在大MAGI '900 Sumi has actively participated in important Sumi's sub-consciousness directing these 藝術的雙。 exhibitions, both in Japan and abroad, including mechanical repetitions. Freedom and the the 1993 45th Venice Biennale. He persisted release of the subconscious instincts are thus 觀見夫的表演、作對賞心目。他 with creative work even after the Gutai group the crucial elements in his creation. In his 心所地一一在畫面上， disbanded, receiving frequent invitations to essay My Artistic Concepts, he said, "When I 地上畫作，來用各種、自雙手 perform and show his works in Europe and create my works, my feelings are a mixture 去。木、、動上 the US with Shozo Shimamoto. Magi 920 (Lot of "yakekuso" (desperation), "fumajime" ，在畫面上會動出重覆的理。這 519) was produced at just such a duo solo (absence of seriousness) and "charanporan" 種重覆是動性的，是人手畫。但動 exhibition at the Magi "900/Museum of Artistic (irresponsibility)." 這的，卻是見夫的。自由、 and Historical Excellencies/Museum of Art of 正正是見夫作的。他曾在 the Italian Generations in Italy in 2008. 《的藝術》自白：「作時，是 Viewing a Yasuo Sumi performance to paint is a 滿心入，時和理 delightful and engaging experience. Splashing 性。」

518

RYUZABURO UMEHARA 原龍三郎 ±JAPAN, 1888²1986³ ±日本，1888²1986³

Chrysanthemums signed in Japanese (upper left); signed, titled and dated in 水本 Japanese (on the sticker on the reverse) gouache and mineral pigment on paper 1970年作 26.5 x 27 cm. (10 ⅜ x 10 ⅝ in.) ：龍 (左上)；一年原龍三郎寫 (畫) Painted in 1970 藝術家印一 (畫) one seal of the artist (on the sticker on the reverse)

HK$50,000100,000 Yasuo Sumi's performing the execution of Magi 920 (Lot 519) Lot 519 US$6,50013,000 at Magi '900/Museum of Artistic and Historical Excellencies/ Museum of Art of the Italian Generations in Italy on 11 PROVENANCE 來源 November 2008 見2008年11月11日於大MAGI '900術物表創作 Private Collection, Japan 日本人收藏 Magi 920品519 This work is accompanied by a Certiﬁcate of Registration issued by 此作品原龍三郎會發之 ( 255) Association Ryuzaburo Umehara under the registration number 255. 274 519

YASUO SUMI 見夫 520 ±JAPAN, 1925²2015³ ±日本，1925²2015³ YASUO SUMI 見夫 Magi 920 Magi 920 ±JAPAN, 1925²2015³ ±日本，1925²2015³ signed in Japanese, signed 'Y. Sumi' and dated '2008' (on the reverse); 畫 museum label and museum stamp of MAGI '900 - Museum of Artistic Net-work, Yasuo Sumi 2 2 2008 ，見夫 and Historical Excellencies (Museum of Art of the Italian Generations) 年作 Y. Sumi 2008 ( ) MAGI '900 signed in Japanese and signed 'Y. Sumi' (lower middle) on the stretcher ：見夫畫；藝術 (日本 ) MAGI '900 mixed media on net (Japanese ink and colour on fabric) acrylic on canvas 及藝術印於畫 1980年作 120.5 x 145.2 cm. (47 ½ x 57 ⅛ in.) 98 x 63 cm. (38 ⅝ x 24 ¾ in.) ：見 Y. Sumi (中) Executed in 2008 Executed in 1980

HK$200,000400,000 來源 HK$120,000220,000 大人收藏 US$26,00051,000 US$16,00028,000

PROVENANCE PROVENANCE 來源 2008年11月11日-12月22日「本昭三/見夫 – 和平的 Private Collection, Asia 洲人收藏 Private Collection, Italy 」MAGI '900藝術耶．大 This work is registered as ID 276 by the Yasuo Sumi Archive 此作品記於見夫出版，為ID 276 2015年10月3-31日「見夫：完」Mazzacurati Fine EXHIBITED Art 拉大 EXHIBITED Pieve di Cento, Italy, Shozo Shimamoto / Yasuo Sumi - The Colours of Peace, 2006年「表演」Morra 金會坡里大 Naples, Italy, Fondazione Morra, Exhibition and Performance, MAGI '900 - Museum of Artistic and Historical Excellencies (Museum of Art of 2015年11月17日 – 2016年1月16日「的《見夫：完》Roberto Mazzacurati Fine Art 2006 the Italian Generations), 11 November – 22 December 2008. 」芳地代藝術 Ferrara, Italy, Yasuo Sumi - Full Immersion Solo Exhibition, Mazzacurati Fine 拉大 (完成作品圖版，9；圖版，40-41) Hong Kong, Parkview Art Hong Kong Gallery, GUTAI The Eternal Avant-Garde, 17 November 2015 – 16 January 2016 Art, 3-31 October 2015. 2015年《的》芳地代藝術 LITERATURE LITERATURE (圖版，50) Roberto Mazzacurati Fine Art, Yasuo Sumi: Full Immersion, Ferrara, Italy Gutai The Eternal Avant-Garde, Parkview Art Hong Kong, Hong (unﬁnished version illustrated, p.9; illustrated, p. 40-41) Kong, 2015 (illustrated, p. 50).

276 HISAO DOMOTO 堂本郎

Hisao Domoto's œuvre can be characterised white background, giving the viewer a sense of 觀堂本郎一的作品，成三主要 in three major periods, "Informal Art" in the inner reflection. ：1950年代的「藝術」、1960年代的 1950s, "solutions of Discontinuity" in the 「的」、以及1970年以的「 RETURNING TO EASTERN ROOTS 1960s, "Possibilities of Chain Reactions" from 」。作為1950年代巴的日本藝術家， "Other artists from Art Informel movement the 1970s onward. Domoto is a major figure 堂本在戰藝壇的地見一。 of the post-war art scene, and in particular a were from a different generation, they had leading Japanese artist in 1950s Paris. a different cultural background. I started 戰傳表達方的 wondering if I should rather focus my artistic 堂本受厚的藝術目，大 CHALLENGING BOUNDARIES development as an Eastern artist in search 日本藝術，堂本印象前往歐洲 OF CONVENTIONAL of Eastern symbolism" (Hisao Domoto, in 行，藝術作之地巴， EXPRESSION Dialogue with Y. Inui in 1973) 深入藝術表。在1955年巴， After a childhood in Kyoto surrounded in an In the 1970s, Domoto operated a return to artistic environment, a higher education in 他過了米．塔耶，是 "Asian" inspired aesthetics, and particularly Japanese fine arts, and a trip to Europe with 藝術運動的人，這種人經，為他 developed an interest in circles and wave. He his uncle Insho Domoto, Hisao Domoto moved 了傳統藝術以的作發平。 identified the power of the circle as a continuous to the source of artistic creation, Paris, in an form, which, if large enough, could become 堂本的象畫作了動作、然和無 effort to further explore artistic expression. an area, and if small enough could become a 的深；作品別有天地。《無題》(品 When he arrived in Paris in 1955, he was dot which in turn could constitute a line. Two 521)曾出於法國Stadler畫廊為堂本的 quickly introduced to Michel Tapié, leader of Chain Reaction (Lot 522, 523) investigate the 之中，其時，之的 the Art Informel movement, which provided a endless possibilities of dynamism through the 為藝術家得了國。堂本用重的厚 platform for artistic development outside the most elementary forms of geometry. Painted 法，得、、、的白的景 boundaries of conventional art. once the artist had permanently moved back to 中出，，觀者見藝術家 He gained instant recognition for his abstract Japan, they are both in the collection of a patron 在思的一面。 paintings expressing rapid movement, of the artist who recognised these paintings for intense energy and unlimited depth. His their purified composition and surface, allowing 方本源 painting Untitled (Lot 521) was exhibited at Domoto to strip down the act of painting to its 「其他藝術運動的畫家，來自於一世 Galerie Stadler in one of the several one-man meditative form, thus returning to his Japanese 代，他們的化景。思是 shows that helped propel his reputation to heritage. 以東方藝術家的身來藝術發，找屬 the international level. Thick impastos and 於東方的象。」(堂本郎，1973年由 strikes of bright red, yellow, green and blue 的對)。 dynamically spin in and out of a black and 1970年代，堂本了一場以「洲」美學為 521 的，對和浪了厚興。他將所的為一種的表 HISAO DOMOTO 堂本郎，這大，會成為一； ±JAPAN, 1928²2013³ ±日本，1928²2013³ 的，是成為一，成為一。幅《》(品522，523) 均過 Untitled 無題本的方動的性。堂本在 signed, dated and inscribed 'DomoTo 1958 PARIS 16é 9 Rue St Didier' 畫回日本，完成了這幅作品，在由 and signed again in Japanese (on the reverse) 1958年作他的一名贊家所收藏；這名收藏家對這幅畫 oil on canvas 60 x 120 cm. (23 ⅝ x 47 ¼ in.) : DomoTo 1958 PARIS 16é 9 Rue St Didier 堂本郎作化的圖和畫面深表賞，堂本得以對作 Painted in 1958 (畫) 畫過，回充滿的，回自對日本藝術的傳承。 HK$250,000350,000 US$33,00045,000

PROVENANCE 來源 Galerie Stadler, Paris, France 法國巴 Stadler畫廊 Collection of Sir Edward Hulton (1906-1988) and thence by descent to the 愛(1906-1988)士藏，此由前藏家家屬收藏

Hisao Domoto making art in his studio, 1956. previous owner 美國人收藏本郎在作中作作品，1956 Private Collection, USA

278 522 523

HISAO DOMOTO 堂本郎 HISAO DOMOTO 堂本郎 ±JAPAN, 1928²2013³ ±日本，1928²2013³ ±JAPAN, 1928²2013³ ±日本，1928²2013³

Réaction en chaîne (Chain Reaction) Réaction en chaîne (Chain Reaction) signed in Japanese, signed, dated and inscribed 'DOMOTO signed and dated 'DOMOTO, 81' (lower right) 畫及本 1985 TOKYO', titled 'Reaction en chaine' (on the reverse) silkscreen on glass, collage on paper 1981 acrylic on canvas 1985年作 39 x 57 x 3.3 cm. (15 ⅜ x 22 ½ x 1 ¼ in.) 年作 112 x 194 cm. (44 ⅛ x 76 ⅜ in.) ：堂本郎 DOMOTO 1985 Reaction en chaine Executed in 1981 ：DOMOTO, 81 (右) Painted in 1985 TOKYO (畫) HK$30,00060,000 來源 HK$220,000320,000 日本東 Inoue 畫廊來源 US$3,9007,700 US$29,00041,000 日本人收藏日本人收藏(藏者自藝術家) PROVENANCE PROVENANCE Inoue Gallery, Tokyo, Japan Private Collection, Japan (acquired directly from the artist by the Private Collection, Japan present owner)

280 524

JIRO TAKAMATSU 高松郎 ±JAPAN, 1936²1998³ ±日本，1936²1998³

Shadow of Key no. 129 的 129 signed, dated and inscribed 'Jiro Takamatsu 1966 No. 129' (on 木金屬 the reverse) oil on wood, metal hook 1966年作 33 x 24 x 6 cm. (13 x 9 ½ x 2 ⅜ in.) ：Jiro Takamatsu 1966 No. 129 (畫) Executed in 1966

HK$550,000750,000 US$71,00096,000

PROVENANCE 來源 Tokyo Gallery, Tokyo, Japan 日本東東畫廊 Private Collection, Germany (acquired from the above by the 國人收藏 (藏者於1960年代自上畫廊) present owner in the 1960s)

Jiro Takamatsu is one of post-war Japan's key; this surrealistic scene creates uncertainty 高松郎是日本戰重要且深的藝術 most important and influential artists, his in the viewer and makes one question and 家，他的藝術思和作對日本代美術發 artistic theories and creative endeavours reflect upon what one sees with one's eyes, 重。高松但是「Hi-Red Center」 have left lasting marks on the development questioning the relationship between the form 人之一，推動了「」運動的發，前者 of modern art in Japan. Not only was he one and the formless. 是、化的學院藝術， of the founders of the "Hi-Red Center", he Because of the need for rapid economic 成在於藝術和之的； also contributed to the development of the development in post-war japan, the rampancy 者於表原本身的表，以及 "Mono-ha" movement. The former created of capitalism made social and cultural 的動表出時的，這藝術 happenings and events that were socially products lose their individuality, and to 主張對日本十年代的一年藝術家有著深 reflective, anti-establishment and anti- Takamatsu was as transient and empty as the 的。 commercial, while the latter is focused on the "shadow" on the board, while the declining 《的 129》(品 524)是屬於 representational power of raw materials, and but still distinctive traditional industries are their changing forms as a result of interacting as palpable as the "hook", creating the visual 高松代表性和「」的其中 with the environment in different ways. These effect of the real and the not real on a flat 一幅，這是他在1964年作的，在 artistic ideas had a profound impact on surface. Additionally, while the atmosphere 代會的無性在性之的。在 Japan's young artists in the 60s and 70s. of defeat permeated Japan during the post- 表上，高松傳統日本版畫印、風畫 Shadow of Key no. 129 (Lot 524) hails from WWII period, the Japanese people also felt 及和門中的得發，以平面畫的手 Takamatsu's most characteristic and influential doubt towards reality, and uncertainty about 法在畫上細心造一在上之的 'shadow" series; the series begin in 1964, and their own culture. Takamatsu, in Shadow of 。是，木上有見，這種 aims at exploring the relationship between Key no. 129, uses the illusion of the shadow 自然的象觀者性，令人對 nihilism and realism in modern society. In its and the tactile solidity of the book to present 見的出和思有和無之的 formal presentation, the artist took inspirations the spirit of that age. 。 from traditional Japanese printmaking, In 1968, Takamatsu represented Japan 由於戰的日本要發經，本主大 screen painting, and screen doors, and used a at the Venice Biennale as well as other 行其令會變得性，此對於高松 flattened painting technique to carefully create international exhibitions, including the O'bon 畫上的「」無，日但造 on the surface the impression of a shadow Paris (1969), at the Guggenheim Museum 各的傳統藝「」在，在平面 left by a key on a coat hook. Except, on the (1971), and Centre Georges Pompidou (1986). 上造了和的覺。，時二戰 wooden plank there is only a hook and not the Furthermore, his works are also in the 的日本還被戰的籠，令國心裡對 collections at New York's 的，對自的化有動。高松 MoMA and London's Tate 在《的 129》中用的幻覺和 Museum. 的在，了時的會象。

高松在1968年代表日本雙年，了其他國：巴雙年(1969年)、根美術(1971年)和巴中心(1986)。此，高松的作品見藏於約代藝術和特美術。

Jiro Takamatsu working on the "shadow series", 1967. ©The Estate of Jiro Takamatsu, Courtesy of Yumiko Chiba Associates Photo: FUJITSUKA Mitsumasa 1967年，高次郎繪畫的情 282 525 AY²O ±JAPAN, B. 1931³ ±日本，1931年生³

Where the Soul of Rainbow Living A 精的住所 A signed and dated 'Ay-O '98', titled in Japanese (lower right) 畫 acrylic on canvas 1998 130.3 x 162.1 cm. (51 ¼ x 63 ⅞ in.) 年作 Painted in 1998 ：の精のすむところA Ay-O '98 (右)

HK$220,000420,000 US$29,00054,000

PROVENANCE 來源 Private Collection, Japan 日本人收藏

EXHIBITED 2012年2月4日5月6日「」 Tokyo, Japan, Museum of Contemporary Art Tokyo, Ay-O: Over the Rainbow ふたたびのかなたに東代美術東日本 Once More, 4 February-6 May 2012

LITERATURE 2012年《ふたたびのかなたに》(圖) 東 Museum of Conteamporary Art Tokyo, Ay-O: Over the Rainbow Once More, 代美術東日本 (作品名172，87) exh. cat., Tokyo, Japan, 2012 (listed No. 172, p. 87)

Takao Iijima, known as an artist by the name It was also in the early 1960s, Ay-O, as a 本名，1931年於日本。50 Ay-O, was born in Ibaraki, Japan in 1931. Active conceptual artist, began to create his own 年代於日本藝壇，其畫中的 on the Japanese art scene since the 1950s, paintings which feature rainbows as their main 名。1958年，約，於1960年 he is known for the brilliant colours of his element. Ay-O is extremely sensitive to colour, 代初入國藝術浪。作為的心 paintings. He moved to New York in 1958, believing it to be an important constituent 成員，他白、、喬治． joining the international art organization Fluxus element of the art of painting, and he thus 藝術家作了多觀藝術作品，對 in the early 1960s. As a core member of the began experimenting with colours on canvas. 20世紀藝術發了重要。 group, he co-operated with pioneering artists Taking the rainbow as a "concept", the artist such as Nam June Paik, Yoko Ono, and George began to take colour, originally infinite and 是在十年代初，作為觀藝術家的 Maciunasto in creating a number of conceptual disorderly, and organise them in an orderly 以為主要元作人畫作品。對 works that have had an important impact on manner, saying, "For me, colour is the rainbow, 為，他為是畫藝術中重要的 the development of art in the 20th Century. the spectrum." 成，由此了在畫上對的。用這一「觀」，藝術家將本是無且無 Ay-O expresses on his canvases the gradually shifting gamut of colours in 的有地來，其：「於 the rainbow, in works where ，，。」 as many as 192 different 用變將的表於畫之上，其 gradients of colour may be 作品多過192種變。畫家要 used. The process of applying 前一種了之為一種，這 colour becomes long and 得他的施過。《精的住 complicated due to the need to 所A》品525是為的 wait for previous colours to dry 作品，畫面中動的富的變， before applying further layers. 了藝術家對的愛。 Where the Soul of Rainbow Living A (Lot 525) is typical of Ay-O's rainbow paintings: The bouncing colours and the richness of their gradually changing gradients testify to the artist's fascination with and love for the rainbow. Ay-O, Rainbow EiÌel Tower Project, 1987, EiÌel Tower, Paris, France Photo: Kenji Mizuyachi 爾計劃 1987年作法國爾

284 526 KISHIO SUGA ±JAPAN, B. 1944³ Where the Chalk is Headed

signed and dated ‘Kishio Suga 1991’, titled in Japanese, inscribed ‘- on sand paper’ (at the back) chalk on sand paper 28.1 x 22.8 cm. (11 ⅛ x 9 in.) Executed in 1991

HK$30,00060,000 US$3,9007,700

PROVENANCE Private Collection, Japan

木 ±日本，1944年生³

筆的去

筆 1991年作：チョークの行方 - on sand paper Kishio Suga 1991 (面)

來源日本人收藏

Lot 526 527 KISHIO SUGA ±JAPAN, B. 1944³ The Other Side of the Middle

signed 'Kishio Suga', dated '1992', titled in Japanese (at the back) paint and putty on wood 45 x 40.5 x 10.2 cm. (17 ¾ x 16 x 4 in.) Executed in 1992 528 HK$55,00085,000 KISHIO SUGA 木 US$7,10011,000 ±JAPAN, B. 1944³ ±日本，1944年生³ PROVENANCE Supplemented Material 充 Private Collection, Japan signed 'Kishio Suga', titled and inscribed in Japanese 木 (at the back) 1980 木 putty on wood 年代作 32.5 x 35.2 cm. (12 ¾ x 13 ⅞ in.) ：Kishio Suga (日) (面) ±日本，1944年生³ Executed in 1980s

中的一 HK$40,00080,000

木 US$5,20010,000 1992年作：Kishio Suga 1992 中のこう (面) PROVENANCE 來源 Private Collection, Japan 日本人收藏來源日本人收藏

Lot 527 529 FERNANDO CUETO AMORSOLO ±PHILIPPINES, 1892²1972³ ±，1892²1972³

By The Padi Field 在田旁 signed 'F Amorsolo' and dated '1951' (lower right) 畫 oil on canvas 1951 88 x 121.5 cm. (34 ⅝ x 47 ⅞ in.) 年作 Painted in 1951 ：F Amorsolo 1951 (右)

HK$480,000580,000 US$62,00074,000

PROVENANCE 來源 Acquired from the artist by the original owner 前藏者得自藝術家本人 Thence by descent to the present owner 由原藏家家屬收藏 Private Collection, Switzerland 士人收藏

This ensemble of Fernando Cueto Amorsolo's This is perhaps also due to a growing sense of Amorsolo in this work, with the abundance and works from the 1950s typify the artist's nostalgia surrounding this way of life, amid the the lusciousness of the greenery particularly favourite themes which he enjoyed to revisit American occupation and their urban reform emphasised in both the paintings. In Washing and perfect throughout his entire career. In programmes. by the Stream , the blissful quietude of the these pieces we see his masterful ability to The scenes and people that appeared in his scene is conveyed through the water's glistening depict the effects of tropical light and shade paintings reflected Amorsolo's own life and reflection of its surroundings, and by the light- upon a range of different subjects, emitting a experiences. Although some of his works inducing composition. particular warmth from the canvas that can were produced in the studio, they were Nude (Lot 531) presents itself as an allegorical only be the work of the "Grand Old Man of always based on specific sources rather than and romantic celebration of Amorsolo's ideal Philippine Art" himself. This group of works generic ideas. Amorsolo's training began at a of the female form: a Filipino woman with a exemplify the integral elements that made up young age where he was an apprentice to his delicate and rounded frame. Yet, this particular Amorsolo's ideal of Filipino culture. uncle Fabian de la Rosa, a leading painter of model is presented with connotations of The present owners brought these works the Spanish-school based in Manila. He later innocence, modesty and girlhood. Her face with them from the City of Zamboanga to undertook a period of study in Madrid in 1919, and body are turned away from the viewer settle in Zurich, Switzerland, in 1954. They where he spent a great deal of time in the due to her fascination with a pink rose. She is met Amorsolo in the 1940s, and continued to Prado Museum, studying the works of the great encompassed by a swirling array of pink, purple remain in contact with the artist long after they Spanish masters. and orange paints which make up a warm and immigrated. Fittingly enough, the artworks are By the Padi Field (Lot 529) and Washing subdued background, to match her gentle and now returned to be presented in Asia. by the Stream (Lot 530) demonstrate why inquisitive mood being displayed here. Amorsolo believed it was his duty to represent Amorsolo is renowned for vibrantly coloured Sailing Boat (Lot 532) captures the famous the Philippines truthfully in all its strengths romantic genre scenes, as well as for his Manila sunset in all its glory, one of Amorsolo's and weaknesses, and there was a strong sense mature handling of light and composition. particularly favourite subjects to paint. Here, of nationalism embedded in his approach. In By the Padi Field , our view is directed to he portrays the strength of the wind and its He thought it was historically important the workers" dedication to their job and also grand effect on the water, the sky and the sail to capture both the significant events and the interaction occurring between them. This boat. Amorsolo perfectly portrays the diffusion scenes of everyday life occurring across the shows the happiness achieved from both of the soft, lucid light across the scene and country. In his rural scenes, we see the local their modest lifestyle and from maintaining once again, man is seen in unison with nature. Filipinos at one with nature: they are hard- the sense of community. More still, the figures It is because of such works, ones which working and value their family and community are harmonious with nature in this scene: a demonstrate his signature approach to the relations. The environments are prolific and symbiotic relationship is evident as we see realist technique, that Amorsolo was awarded plentiful; signifying his appreciation of the man aptly provided for by his environment. the title of first ever National Artist of the country's temperament and natural beauty. The four elements of the earth are included by Philippines.

288 531 FERNANDO CUETO AMORSOLO ±PHILIPPINES, 1892²1972³ Nude

signed 'F Amorsolo II' and dated '1959' (lower right) oil on board 54.5 x 39.5 cm. (21 ½ x 15 ½ in.) Painted in 1959

HK$260,000360,000 US$34,00046,000

PROVENANCE Acquired from the artist by the original owner Thence by descent to the present owner Private Collection, Switzerland

±，1892²1972³

女

木 1959年作：F Amorsolo II 1959 (右)

來源 531 前藏者得自藝術家本人由原藏家家屬收藏 532 士人收藏 FERNANDO CUETO AMORSOLO ±PHILIPPINES, 1892²1972³ Sailing Boat

signed 'F Amorsolo' and dated '1957' (lower right) oil on canvas 40 x 61.5 cm. (15 ¾ x 24 ¼ in.) Painted in 1957

530 HK$220,000320,000 US$29,00041,000 FERNANDO CUETO AMORSOLO PROVENANCE ±PHILIPPINES, 1892²1972³ ±，1892²1972³ Acquired from the artist by the original owner Washing by the Stream 邊 Thence by descent to the present owner Private Collection, Switzerland signed 'F Amorsolo' and dated '1951' (lower right) 畫 oil on canvas 1951 55 x 45 cm. (21 ⅝ x 17 ¾ in.) 年作 Painted in 1951 ：F Amorsolo 1951 (右) ±，1892²1972³

HK$250,000350,000 US$33,00045,000 畫 1957年作 PROVENANCE 來源：F Amorsolo 1957 (右) 532 Acquired from the artist by the original owner 前藏家者得自藝術家本人 Thence by descent to the present owner 由原藏家家屬收藏來源 Private Collection, Switzerland 士人收藏前藏者得自藝術家本人由原藏家家屬收藏 290 士人收藏 533 ANG KIUKOK 救國 ±PHILIPPINES, 1931²2005³ ±，1931²2005³

Cruxiﬁcion 十上 signed 'Kiukok' and dated '1979' (lower right) 畫 oil on canvas 1979 142 x 89 cm. (55 ⅞ x 35 in.) 年作 Painted in 1979 ：Kiukok 1979 (右上)

HK$1,000,0001,500,000 US$130,000190,000

PROVENANCE 來源 Acquired directly from the artist by the present owner 藏者得自藝術家本人

LITERATURE 2000年《救國：望》Alfredo Roces著Finale Alfredo Roces, Finale Art Gallery, Kiukok: Deconstructing Despair, Art File畫廊 (圖版，767圖) Mandaluyong City, Philippines, 2000 (illustrated, plate 767)

Born in the outskirts of Davao City, Philippines, desire to paint what he feels, rather than to just 上(品533) 是一幅生動傑作， Ang Kiukok came from a family of Chinese rehash themes within the canon of religious art. 救國以他的現風，描繪了一個常見 migrants. His family owned a small sari-sari Ang employs the use of Cubist visual vernacular 的主題；這種風著於色和的 store – a neighbourhood sundry store found in – which he no doubt encountered during his trip 。由於經在現大家 The Philippines – but for Ang, enterprise was to Paris – with the motif of intersecting planar 的下，因此他受1950和1960年 not his passion, spending afternoons in the forms across the background of Crucifixion. 起的現術發所。在當時，其他 store drawing at the counter. When his school However, he adds his own unique style by 現術家，布安和 invited Chinese artist Tan Kok King to teach paring down his colour palette and creating 等，也在的創作方來表，以 Arts and Crafts, Ang's artistic talents caught dramatic juxtapositions through his dramatic 將自己浪派的流派、和其他畫家 the eye of the teacher. Ang even took up an use of colours, giving his works the effect of 來，將大自然中所著的、 unpaid apprenticeship with a commercial artist stained glass he no doubt saw in the Catholic 構。 in the summer of 1947, painting billboards for churches in his homeland of Philippines; Here, 然而，有於其他等安的現主義 moviehouses in Cotabo. Upon graduation from the largely monochromatic palette is off-set 畫家，救國將體派結構和那些能動情感的主 high school, he finally mustered the courage by his restrained and precisely chosen use of 題化，而發了而創的表現主義 to tell his family that he wished to become an red. Modernist overtures are found in his use of 體派手法，以他自己的情為，而 artist. thorns as a decorative visual pattern, reducing 於物體的表；於此，風和術本 Crucifixion (Lot 533) is a masterpiece that the classical religious tones of crucifixion ，成就了一幅動人名作。 to a symbol. This is further emphasised by depicts one of the religious motifs often painted 對而，這主題不僅是、是 the obscured face of Christ, rejecting the by Ang in his distinctive Philippine Modernist 入的。之，還有性的義術 emotions of pathos, freeing it from its religious style, which focuses heavily on the distribution 家畫出他中的感受，而僅是在術中 connotations and opening it to a myriad of of colours and forms. Heaving studied under 中。救國用了體派的 interpretations. Crucifixion is a superb example Filipino modern master Vincente Manansala, – 這無地是他在之所的感 – 在 of Ang's masterful techniques and years of Ang was heavily influenced by the Philippine 上背景中以平面為主題。然而，他還 experimentation, and a testament to why his Modernist developments that emerged of the 入了自己出的風，精了色用， works are highly sought-after and difficult to 1950s and 60s. At that time, other Modernists 戲劇化的合創了滿張的， come by. such as Romeo Tabuena and Arturo Luz were 為作品了的，而這種術， also exploring new ways of representing the Ang's contributions to the visual culture of The 是他在祖國的天主所常見的。在 world as a way to set themselves apart as Philippines were recognised by the nation when 此畫中，術家有節而的色用，出 a movement from the romantic 'Amorsolo he was awarded the title of National Artist by 色的合。畫面內的了性的 school', as well as from one another, reshaping his home country in 2001, cementing him in the 圖，帶出了現主義的，也將 and distilling forms found in nature. However, pantheon of modern Southeast Asian art. 所載的傳性化成一抹。而被 unlike the Modernists who focused heavily on 生於達的救國，是中國的後的龐，更強了這一術家了 the hierarchy of forms, Ang marries his Cubist 。他家經一間型的sari-sari- 一種的感受，將此情其內義放出來， structures with emotionally-charged subjects, 有的傳型 – 是，經商對而能各種。上體現了救國精湛 to develop his own "Expressionist-Cubism" 無，他僅是後在裡的畫畫，磨的技巧和多年的創作驗，也明了他的作品為 innovative approach that is deeply focused 時。當中國畫家國來術和此手、一作。 on his own emotional state, rather than mere 時，他對的術天另。至在救國對的化多；在2001年， representations of objects; style and substance 1947年天到一名商術家的下師，無當他為國家術家，他的術，為 come together to create a masterpiece. ，為的畫板。高中他在現壇的神中了不動的 For Ang, the Crucifixion motif is not an image of 之後，救國終於起，知家人他的地。 reverence or religious devotion. Rather, it takes 是當術家。 on something more symbolic: Ang's personal 292 534 FERNANDO ZÓBEL ±SPAIN²PHILIPPINES, 1924²1984³ La Vista XXVI

signed 'Zobel' (lower right); titled 'LA VISTA XXVI' and inscribed '74-45' (on the reverse) oil on canvas 40 x 40 cm. (15 ¾ x 15 Ú¾ in.) Painted in 1974

HK$240,000350,000 US$31,00045,000

±班Í, 1924²1984³

La Vista XXVI

畫 1974年作：Zobel (右); LA VISTA XXVI 74-45 (畫)

Lot 536 Detail

535 FLORENCIO B. FERNANDO ZÓBEL CONCEPCION ±SPAIN²PHILIPPINES, 1924²1984³ In a repetitive horizontal motion, coloured his postgraduate studies at the Accademia Concepcion draws from spontaneous La Vista XXVII oils are brushed gently onto the canvas as di Belle Arte in Rome as a scholar before impulses in the construction of his works to signed 'Zobel' (lower right); titled 'LA VISTA XXVII' and they blend seamlessly and freely with each becoming the Dean of the University of the achieve an authentic form of individuality and inscribed '74-46' (on the reverse) other. Painted by Filipino artist Florencio East College of Fine Arts till his retirement conceptualism, which this present lot truly oil on canvas B. Concepcion in 1997, this abstract work, in 1994. With his artistic foundations firmly encompasses. 40 x 40 cm. (15 ¾ x 15 Ú¾ in.) Transformation of Symbols (Lot 536) rooted, Concepcion followed the flow of Painted in 1974 bears characteristics of the artist's most art that developed in the Philippines as his recognisable abstract expressionist style in peers looked to the West for current artistic HK$240,000350,000 the later part of his career as he moved away trends. A key figure as an educator of the US$31,00045,000 from his early impressionistic depictions. arts, Concepcion position in directing the arts The meditative movements of the of the Philippines during this time cannot be brushstrokes and the brilliant colours of overlooked. red, blue and green yellow exude a sense of Concepcion's masterpieces are created with ±班Í, 1924²1984³ contentment and serenity, which the artist more than just technical skill as he believes La Vista XXVII sees as a resulting gesture of his emotions that a successful work of art should evoke and creativity. A kind of autobiography if you feelings in the viewer - "A painting must 畫 wish as the artist translates his personal move you. If you think while painting, you will 1974年作 satisfaction in life into his work. produce a synthetic painting." Unburdened ：Zobel (右); LA VISTA XXVII 74-46 (畫) A Fine Arts graduate from the University by calculated thoughts on composition, or of the Philippines, Concepcion furthered what constitutes as a good or bad painting,

294 536 537 FLORENCIO B. CONCEPCION FLORENCIO B. CONCEPCION LAO LIANBEN 安 ±PHILIPPINES, 1933²2006³ ±，1933²2006³ ±PHILIPPINES, B. 1948³ ±，B. 1948³

Transcendental Reﬂection 思 Substance signed 'FBCONCEPCION' and inscribed 'XCVII' (lower signed 'LAO 1996' (middle left); signed and dated again, titled 畫藝畫 left); signed again and titled 'TRANSCENDENTAL 'SUBSTANCE' and inscribed '4' X 5' ACRYLIC, MODELING PASTE ON 1997年作 1996年作 REFLECTION'(on the reverse) CANVAS' (on the reverse) oil on canvas : FBCONCEPCION XCVII (左); FLORENCIO B. acrylic and modelling paste on canvas : LAO 1996 (中左); LAO-LIANBEN 1996 152 x 152 cm. (59 ⅞ x 59 ⅞ in.) CONCEPCION 'TRANSCENDENTAL REFLECTION' 122 x 152.5 cm. (48 x 68 in.) 4'X5' ACRYLIC, MODELINGPASE ON CANVAS Painted in 1997 (畫) Painted in 1996 SUBSTANCE (畫)

HK$90,000150,000 HK$100,000160,000 來源 US$12,00019,000 US$13,00021,000 藏者得自藝術家本人

PROVENANCE Acquired directly from the artist

296 538

PACITA ABAD 塔 ±PHILIPPINES, 1946²2004³ ±，1946²2004³

Blue signed 'Pacita' (lower right) 畫 oil, painted batik cloth stitched on canvas 230 x 150 cm. (91 x 59 in.) 2002年作 Executed in 2002 : Pacita (右)

HK$140,000200,000 US$18,00026,000

A collage of batik fabric and oil paints, Blue by the prolific Filipino artist Pacita Abad exudes a dynamic confidence of brush and needlework. Hues of blue and earth tones dominate the painting with colours radiating from the canvas surface. Hailing from her last major series Endless Blues, the present lot was executed two years before Abad's passing in 2004. During this period, her vibrant mixed media collages reflect the artist's tenacity for creating texture and luminosity. Blue, like other abstract works of this period, has an emotional quality to it as the islands of patterned fabric weave in and out of spontaneous strokes of rich colour. Pacita Abad was an artist with a focus and a passion, pouring her personal life experiences and travels into her work. Abad's adventurous spirit took her across the globe, inspiring her artistic developments and impacting many ideas and techniques seen in her creative oeuvre. Her socio-political and figurative works of people, masks and nature from her early period evolved into an impressionistic representation with shapes, colours and texture. With that, the artist began incorporating materials and objects that she collected from her trips, including beautiful traditional textiles like ikat, batik, bark cloth and more from the Indonesian archipelago and beyond. Throughout her battle with cancer from 2001-2004, Abad worked predominantly from her studio, lulled by the therapeutic melody of blues music as she painstakingly sewed cloth onto canvases, uniting them with expansive applications of paint. Blue, along with the rest of this series, mirrors the artist's psychological and emotional state of mind and body as she tussled with the uncertain state of her mortality. Music set the mood and translated nostalgia, melancholy and the rhythmic beats into bold and meaningful compositions. Through the abstract myriad of colours and brushed work - the painting presents itself as an experience for any viewer. The sensory nature portrayed through the tactile and intrinsic detailing, leaves one immersed in the expressiveness and the vibrant impact of the painting.

298 539 FEDERICO AGUILAR ALCUAZ ±PHILIPPINES, 1932²2011³ Abstract

signed 'Aguilar Alcuaz', dated '1966' and inscribed 'Washington D.C' (lower right) acrylic and collage on paper 54 x 68.5 cm. (21 ¼ x 27 ⅛ in.) Executed in 1966

HK$40,00060,000 US$5,2007,700

拉 ±，1932²2011³

象

本 1966年作 : Aguilar Alcuaz Washington D.C 1966 (右)

540 ROMEO TABUENA ±PHILIPPINES, 1921²2015³ Cactus with Flowers

signed 'Tabuena' and dated '1961' (lower right) oil on board 61 x 47.5 cm. (24 x 18 ¾ in.) Painted in 1961

HK$50,00070,000 541 US$6,5009,000 ROMEO TABUENA 米塔 PROVENANCE ±PHILIPPINES, 1921²2015³ ±，1921²2015³ Private Collection, Mexico Verdurisimo Verdurisimo 米塔 signed 'TABUENA' and dated '1962' (lower left) oil on masonite board ±，1921²2015³ 1962 64 x 48 cm. (25 ¼ x 18 ⅞ in.) 年作 Painted in 1962 : TABUENA 1962 (左) 人花 HK$40,00050,000 木 1961年作 US$5,2006,400 :Tabuena 1961 (右) PROVENANCE 來源來源 Private Collection, Mexico 人收藏人收藏

300 542 543 ROMULO OLAZO ROMULO OLAZO ROMULO OLAZO ROMULO OLAZO ±PHILIPPINES, 1934²2015³ ±，1934²2015³ ±PHILIPPINES, 1934²2015³ ±，1934²2015³

Untitled (1897) 無題 (1897) Untitled (1896) 無題 (1896) signed and dated 'O.r 83' (lower left) signed and dated 'O.r 83' (lower middle) 畫於木畫於木 mixed media, oil on canvas laid on board mixed media, oil on canvas laid on board 1983 1983年作 45.6 x 61 cm. (18 x 24 in.) 年作 45.8 x 60.8 cm. (18 x 23 ⅞ in.) Painted in 1983 : O.r 83 (左) Painted in 1983 : O.r 83 (中)

HK$100,000160,000 HK$100,000160,000 US$13,00021,000 US$13,00021,000

PROVENANCE 來源 PROVENANCE 來源 Luz Gallery, Manila, Philippines 拉 Luz畫廊 Luz Gallery, Manila, Philippines 拉 Luz畫廊 Acquired from the above by the present owner 藏者自上畫廊 Acquired from the above by the present owner 藏者自上畫廊 Private Collection, USA 美國人收藏 Private Collection, USA 美國人收藏

302 544 546 CESAR BUENAVENTURA ROMEO TABUENA ±PHILIPPINES, 1919²1983³ ±PHILIPPINES, 1921²2015³ A Street Two Heads titled 'A STREET', dated '1967', and signed 'Cesar Buenaventura' (lower right) signed 'TABUENA' and dated '1969' (upper right) oil on canvas acrylic on canvas 59.5 x 120 cm. (23 ⅜ x 47 ¼ in.) 64 x 56 cm. (25 ¼ x 22 in.) Painted in 1967 Painted in 1969

HK$40,00060,000 HK$38,00048,000 US$5,2007,700 US$4,9006,200

PROVENANCE PROVENANCE Private Collection, USA Private Collection, Mexico

那圖拉米塔 ±，1921²2015³ 544 ±, 1919²1983³ 頭一畫畫 1969年作 1967年作 :Tabuena 1969 (右上) : A STREET 1967 Cesar Buenaventura (右)

來源來源人收藏美國人收藏

546 545 ROMEO TABUENA ±PHILIPPINES, 1921²2015³ 547 Landscape with Nipa Huts

signed 'TABUENA' and dated '1960' (lower left) MACARIO VITALIS acrylic on showcard 25 cm x 49 cm. (9 ⅞ x 19 ¼ in.) ±PHILIPPINES, 1898,1990³ Painted in 1960 Untitled

HK$30,00040,000 signed 'Vatalis' and dated '53' (lower left) oil on canvas US$3,9005,100 55.5 x 43 cm. (22 x 17 in.) Painted in 1953 PROVENANCE Private Collection, Mexico HK$30,00040,000 US$3,9005,100 米塔 ±，1921²2015³ MACARIO VITALIS ±, 1898²1990³ 屋景觀

無題 1960年作畫：TABUENA 1960 (左) 1953年作 545 : Vatalis 53 (左) 來源人收藏

547 304 CHEONG SOO PIENG

Cheong Soo Pieng was born in Xiamen, China (1917 – 1983), emigrating by way of Hong Kong in 1946, he arrived in Singapore in 1947. His legacy of artworks in many media and expressions has been documented in numerous museum and gallery exhibitions, and a good number of authoritative publications. An important modern artist of the post-war Lot 551 Detail Chinese diaspora, Soo Pieng's output was the most inventive and thoughtful of all his peers who emigrated to Southeast Asia. Perhaps it 於中國出生(1917-1983年)，1946年。畫面滿動人的在，是術家品552553 浮作品都用了 was the richly melded heritage of Southeast 經，於1947年抵達。其流術品 1950年所喜的型題。而兩個子( 版的設計，此處為細節精妙的始征。一幅 Asia that affected Soo Pieng's sensibilities 各種與表達，在許多物畫品549)中子所的則成為，描繪風景，另一幅描繪人物。而後期作品色 to such an excess of creativity, but it can be ，入不少性的著作。是一畫作之背景感元感，而結構(品552)與其1974年表其三個子 said that of all the much-lauded Nanyang 要的戰後時期裔現術家，其作品大膽表面的則人起當。子的的性作品有構圖與手法的，然們無 artists, Soo Pieng was the one who creatively 創，經，同之。許圖是有著更的來源，然其用色與法當時是在創作時有的人物為 developed the most varied and intelligent 是的化傳其無的創，傳，設計乎至更的圖感，此作細無，個子都是一個術 bodies of work. One can almost not find an 在多備受的術家之中，的作，中國歷與化之。天地的。風景(品553)之構圖來自 artwork by Soo Pieng whose composition, 品是最多元化最理性，幅作品之構其場景(品555)等期作品，畫 subjects, materials and textures had not been 對的創試也為人知，他在幾個圖、主題、和感都是經而成的。河上的高子。 conceived in a considered manner. 作品中入了版的設計。畫此次呈現的幅作品各自表了其術生浮作品(品550)人起作品(品554)之來源有，最 The eight artworks by Cheong Soo Pieng 中要的發歷程。有顯其作程方法之精妙，以此呈現畫中畫之由 Redfern 畫所有，同年在該畫 presented here may each be said to be 的作品，畫動(品548)，描繪三，此手法出現在其作品中。要畫。許多家都該作品 representative of some of the major 作的子，來自前期繪的許多 1970 為其術的一大程。 developments in the artist's career. Several 術家自年始創作其體主義繪畫， of the works presented here show the artist's Lot 548 Detail fascination with batik and the process of its

production. Working (Lot 548), the oil painting His abstract cubist-styled paintings were of three women working on batik is issued developed in much of the 1970s. The two from many studies that Soo Pieng had made abstract relief works (Lot 553 and 554) again of the process. The painting possesses the employ the design of copper batik stamps, earthy qualities of people at labour, a topical but this time as a finely detailed, primitive issue of the 1950s and typical of Soo Pieng's iconology. One depicts a landscape and the humanist interests. With Two Ladies (Lot 549), other is representative of a person. This latter the batik sarongs of the women are for the piece Green Construction (Lot 552) bears painting. Where Soo Pieng has drawn from resemblance in composition and treatment to background textural elements of Song dynasty his 1974 iconic works representing his three paintings, and also the painted gilded finishes children, although it is unclear here whether that resemble Madonna icons, the designs of there was any specific person that Soo Pieng their batiks seem to be from a more ancient had in mind then. It is wonderfully detailed, source. Whilst their colours are the colours of where every square contains the microcosm of traditional batiks, the graphics appear to be a little art worlds. The composition of Landscape play of primitive motifs, as if intertwining the (Lot 553) has been defined from earlier works, ancient histories of China and the Nanyang. similar to Scene (Lot 555), a beautiful, moody Well-known for his experimentation with depiction of stilt houses over a river. materials, Soo Pieng incorporated the designs Of much interest to collectors too, the of copper batik stamps or batik cap into Vermillion Abstract (Lot 554) has a fine several series of works. The figurative painting provenance originally sourced from the with copper relief Sisters (Lot 550) recalls the Redfern Gallery, London, where Soo Pieng held artistry of the batik methodology. It is another his seminal abstract painting exhibition in the device by Soo Pieng to create the "painting same year. It is the opinion of many that the within the painting". This device is also seen in paintings from this series of works represent the abstract pieces here. an important milestone for Soo Pieng's works Lot 549 Detail Lot 554 Detail Lot 552 Detail in abstraction.

306 548 549 CHEONG SOO PIENG CHEONG SOO PIENG ±SINGAPORE, 1917²1983³ ±，1917²1983³ ±SINGAPORE, 1917²1983³ ±，1917²1983³

Working 動 Two Ladies 女 signed 'Soo Pieng' and '58' (lower left) signed in Chinese and dated '80' (middle right) 木木 oil on board oil on board 1958 1980年作 50 x 60 cm. (19 ⅝ x 23 ⅝ in.) 年作 61 x 45.5 cm. (24 x 17 ⅞ in.) Painted in 1958 ： 58 (左) Painted in 1980 ： 80 (中右)

HK$500,000800,000 來源 HK$400,000600,000 來源 US$65,000100,000 洲人收藏 US$51,000 77,000 美國人收藏

PROVENANCE PROVENANCE Private Collection, Asia Private Collection, USA

308 550 551 CHEONG SOO PIENG CHEONG SOO PIENG ±SINGAPORE, 1917²1983³ ±，1917²1983³ ±SINGAPORE, 1917²1983³ ±，1917²1983³

Sisters Abstract Landscape 景觀 Signed in Chinese (lower left); signed, dated '1972', and signed 'SOO PIENG' and dated '61' (lower middle) 木木 titled 'Sisters' (on the reverse) oil on board 1972 1961 mixed media on board 年作 50 x 60 cm. (19 ÚÚ⁄ÆÇ x 23 ⅝ in.) 年作 93 x 67 cm. (36 ⅝ x 26 ⅜ in.) ： (中右); Soo Pieng 1972 (畫) Painted in 1961 ：SOO PIENG 61(中) Executed in 1972 HK$260,000350,000 HK$300,000400,000 US$34,00045,000 US$39,000 51,000 PROVENANCE 來源 PROVENANCE 來源 Private Collection, Europe 歐洲人收藏 Private Collection, Asia 洲人收藏

310 552 CHEONG SOO PIENG ±SINGAPORE, 1917²1983³ ±，1917²1983³

Green Construction signed ‘Soo Pieng’ and dated ‘1974’ (on the reverse) 畫 oil on canvas 1974 120 x 90 cm. (47¼ x 35 ⅜ in.) 年作 Painted in 1974 : Soo Pieng 1974 (畫)

HK$1,000,0001,800,000 US$130,000 240,000

PROVENANCE 來源 Private Collection, Asia 洲人收藏

"I have landscapes or figures in my mind, and as I work, they become abstract." Cheong Soo Pieng

的中有風景和，在創作的時，們成為。

Arguably the most prolific Singapore pioneer intuition and planned structure. He creates 是新坡富造的藝術家， artist, Cheong Soo Pieng's extensive oeuvre depth in his variation of tones - ranging from 富的作品出其藝術之多元變化大膽精神。他 showcases the versatility and boldness bright chartreuse to deep emerald, rich jade 望自的作品是根本上代表新坡的，國 that characterised his artistic practice. to glittering malachite, to term them "green" 家的特，處於化的大中，但 Cheong desired for his works to be radically would be a gross simplification of the elegant 然自的東方承傳。 Singaporean, reflecting the country's position nuances that Cheong's choices afford the eye. 《》(品552)是一幅精的象作 as a melting pot of cultural influences, while Three distinct forms are arranged down the 品，藝術家1960年代初之前常見的里女 maintaining a strong connection to his Eastern centre of the painting. Together, they appear 畫作十。1961至1963年，遊歐 ancestry. to be elements of a deconstructed landscape, 洲，在地畫廊自的作品。中，他 An exquisite work of abstraction, Green pulled out of context to be regarded with fresh 許多方藝術家的作品，他大膽 Construction (Lot 552) seems a clear and eyes. Scrawled upon the surface of most of this 的象藝術。，的藝術 distinctive separation from his celebrated section is the raised linework of an intricate figurative paintings of Balinese women that design, similar to the batik patterns that would 化為自別風格的象藝術，他對方藝 typify most of his output prior to the early feature on the skirts of Cheong's later figurative 術的充了，以象藝術的自由身邊世 1960s. From 1961 to 1963, Cheong was paintings, or even the delicate carvings on a 的精所在。 travelling through Europe, exhibiting his works piece of Chinese jade. 畫作上幅的處，代表著太，成為 at the local galleries. It was during this time Despite being a confluence of several sources 觀者望天的一，在畫面中 that Cheong began to experiment more daringly of inspiration, Cheong's re-invention of 的多元化動成對。住中的 with abstraction, indubitably exhilarated by the space using grid-like lines simultaneously 邊滿圖，在有地跳動， works of the Western artists he encountered contains the chaos of supposed spontaneity 覺上·里和耶·里安的作 during his travels. Eventually, he would develop while bringing harmony to what is otherwise 品。然，多元的動是在自發性 these influences into his own brand of abstract a picture of disparate forms and patterns. 的頭和性的之張的一種。 art, demonstrating his keen grasp of Western Green Construction is a stunning work that is 他在的變化中成深，的深 art history as he manipulates the freedom depictive of Cheong's persistence in exploring 的，的石，籠統地 afforded by abstraction to capture the essence new dimensions in his practice, as he continued 們稱之為「」，太過化為覺 of the world around him. to synthesise the elements and ideologies 受來的精安。 Suspended in the uppermost section, Cheong of Eastern and Western art forms in the places a lone circle that is symbolic of the sun. development of his artistic practice. 畫面中有三各相的造，在一成為一 It provides a focal point for the viewer in the 的風景，自其景，以新角 quiet of the sky, a sharp contrast to the dynamic 之。畫面此出的成為一中的 movement congregating around the middle of ，其人畫中的圖為相 the canvas. Flanking the central portion of the ，有中國之細膩神。 work, the two vertical sections on either side 雖然了的風格來源，但他以格重 appear to pulsate intensely with the geometric 的有性發的，在的和 shapes that have been packed in. Visually, it ，的造和圖。《》 is a clear homage to the Cubist compositions of Paul Klee and Piet Mondrian. However, this 在新藝術面的，將的元 dynamic movement is a product of Cheong's 會，東方藝術傳統理，成屬於 astute management of the tension between 自的獨有藝術風格。 312 554 CHEONG SOO PIENG ±SINGAPORE, 1917²1983³ ±, 1917²1983³ 553 Vermilien Abstract 象 signed in Chinese (lower left); signed 'CHEONG SOO PIENG', CHEONG SOO PIENG 畫 dated '1963' and titled 'VERMILIEN-ABSTRACT' (on the 1963 ±SINGAPORE, 1917²1983³ ±，1917²1983³ reverse); gallery label affixed on the reverse 年作 oil on canvas ： (左); CHEONG SOO PIENG Landscape 風景 91 x 60.5 cm (35 ⅞ x 23 ⅞ in.) VERMILEN-ABSTRACT 1963 (畫); 畫有 Painted in 1963. 畫廊 signed in Chinese (middle right); signed ‘Soo Pieng’ and dated ‘1967’ 畫 (on the reverse) 1967 HK$300,000400,000 oil on canvas 年作 96.5 x 71.3 cm. (38 x 28 ⅛ in) ： (中右); Soo Pieng 1967 (畫) US$39,00051,000 Painted in 1967 PROVENANCE 來源 HK$600,000800,000 The Redfern Gallery, London 英國畫廊 US$77,000 110,000 Private Collection, United Kingdom 英國人收藏 Anon. Sale Sotheby's Hong Kong, 4 October 2010, lot 112 2010年10月4日蘇富 112 PROVENANCE 來源 Acquired from the above by the present owner 藏者自上 Private Collection, Asia 洲人收藏 314 555 556 CHEONG SOO PIENG TENG NEE CHONG ±SINGAPORE, 1917²1983³ ±，1917²1983³ ±SINGAPORE 1951²2013³ ±, 1951²2013³

Scene 場景 Scarlet Glory upon Midnight Blooms 的 signed in Chinese (middle left) signed 'Nee Cheong' and dated 99' (lower right) 畫畫 oil on canvas oil on canvas ：(中左) 1999 39.5 x 76 cm. (15 ½ x 29 ⅞ in.) 116 x 116 cm. (45 ⅝ x 45 ⅝ in.) 年作 Painted in 1999 ： Nee Chong 99 (右) HK$150,000250,000 來源 one seal of the artist 藝術家印一洲人收藏 US$20,000 32,000 HK$200,000300,000

PROVENANCE US$26,00038,000 Private Collection, Asia PROVENANCE 來源 Anon. Sale, Christie's Singapore, 3 October 1999, Lot 868 1999年10月3日新坡士得 868 Acquired from the above sale by the previous owner 前藏家自上 Anon. Sale, Christie's Hong Kong, 25 May 2014, Lot 331 2014年5月25日士得 331 Acquired from the above sale by the present owner 藏者自上 316 PROPERTY FROM AN IMPORTANT SINGAPOREAN PRIVATE COLLECTION 新坡重要人收藏

557 LIU KANG ±SINGAPORE, 1911²2004³ ±，1911²2004³

Kampong Scene 村的場景 signed in Chinese and dated '1986' (lower left) 畫 oil on canvas 1986 64 x 80 cm. (25 ¼ x 31 ½ in.) 年作 Painted in 1986 ： 1986 (左)

HK$500,000600,000 來源 US$65,00077,000 新坡人收藏

PROVENANCE Private Collection, Singapore

A nationally acclaimed painter, educator, from his preoccupation with dissecting and Liu was also crucial to the thriving artist's critic and pioneer in Singaporean art scene, organising details. More than anything, he community as he nurtured and led a diverse Liu Kang dedicated decades of his life solely was left in awe by the exotic glamour of groups art organisations such as the Society to art. At the age of 15, he decided he would Bali. These qualities allowed him to expand of Chinese Artists, Singapore Art Society. be a lifelong artist, pursuing painting in Sing his oeuvre on multiple perspectives such as Together with Georgette Chen, Chen Wen Hwa Arts Academy in Shanghai, China, where concepts, techniques and media. Hsi, Cheong Soo Pieng and others, they gave he prepared himself for a transformative and Kampong Scene is a birds-eye-view of a definition to the idea of art in the early stage enlightening journey to Paris – the global quaint and typical village scene that Liu of its development in Singapore, promoting centre of modern art. Eagerly absorbing probably witnessed in real life. The tranquil it as a profound and professional concept, everything from masterpieces to emerging and bucolic life is captured by the artist, who as opposed to mere commercial designs, stars, he lingered in museums and galleries, was known for paintings of sights and scenes domestic decorations, or an engaging hobby. attended life classes and befriended a he observed on his travels. Liu injects a sense By establishing it as a serious art form, he circle of international artists. Modernist of vigour and dynamism in the work with and his fellow artists enabled the possibilities artworks by Cezanne, Picasso and Gauguin, accents of red, a visual device consciously of a prosperous, evolutionary, and unique expanded his perspectives, and remained chosen to stand out against the blue of the visual language and culture. To Liu, art is a a continuous influence across his artistic river or the green of shrub. Despite being a constant voyage to one's vision with "integrity career. His landmark trip to Bali in 1952 with small town and the figures barely discernible and durability" rooted in its nature. his contemporaries, Chen Chong Swee, from this perspective, Liu manages the Cheong Soo Pieng and Chen Wen Hsi was capture the vibrancy of the local community instrumental in fundamentally changing – a testament to his skill as an artist and a his art as he rediscovered the potential of love of Southeast Asia. simplicity, grace and innocence – a departure

318 558 559 CHIA YU CHIAN CHIA YU CHIAN ±MALAYSIA, 1936²1991³ ±馬來，1936²1991³ ±MALAYSIA, 1936²1991³ ±馬來，1936²1991³

Landscape at Subang Selangor 雪的景觀 189 'Village' 189 村 signed 'Yu Chian' and dated '1970' (lower left); inscribed signed 'Yu Chian' and dated '1970-72' (lower right); signed and dated 畫畫 'Landscape at Suban Selangor' (on the reverse) again and inscribed'"189" Village' (on the reverse) 1970 1970-1972年作 oil on canvas 年作 oil on canvas 71 x 53.5 cm. (28 x 21 ⅛ in.) ：Yu Chian 1970 (左); Landscape at Painted in 1970-1972 ：Yu Chian 1970-72 (右); Yu Chian 1970-72 "189" Painted in 1970 Subang Selangor (畫) Village (畫) HK$60,000 100,000 HK$70,00090,000 來源 US$7,700 13,000 US$9,00012,000 洲人收藏 PROVENANCE 來源 PROVENANCE Private Collection, Asia 洲人收藏 Private Collection, Asia

320 CHEN WEN HSI

Chen Wen Hsi was part of Singapore's 561) moves away from a linear flow as it 是1950至1960年術動 pioneering artists from the Nanyang School incorporates modernist angles to create a 中的領術家，他一種能表當地 in the 50s and 60s who strived to develop busy dynamic visual. A recurring subject, 化的術表達。他在1948年中國 a distinct form of artistic expression Chen was heavily inspired by the 13th century 前，經在上海術打下 representative of the region. Before moving Southern Song Dynasty painting White 的傳中國水，上他對方現 to Singapore in 1948 during the Chinese Robed Guanyin, Crane and Gibbon by Mu Qi. 術風的，在自己描繪經繪畫主 Civil War, the artist had garnered a strong A theme that Chen became fascinated with 題時結合了兩者之精。 artistic foundation in traditional Chinese through the later part of his life, Herons (Lot 魚(品560)滿祥，一群魚 ink and brush from the Xin Hua Academy 562) is emblematic, symbolising strength, 在間游，魚，餘之， of Fine Art in Shanghai. Combined with his purity, patience and longevity. Here, Chen's 有之，上表不、高的 interests in the modernist styles of the West, brushwork almost completely loses its 子，此作品滿中國傳。風上而，此作 Chen borrowed techniques from both artistic linear qualities and form as the birds take 顯用的自，生。 approaches in his portrayal of classical on an abstraction in an undefined space and 結合的與自由的之風，作品長 pictorial subjects. composition. (品561)更放下性結構，採用現 Imbued with auspicious meanings, Golden With same use bold lines and translucent 術主義角，緊的。長 Carps (Lot 560) sees a school of fish ink washes layered upon one another to 主題經常出現在作品中，其感來自於 swimming amidst bamboo stems. Fish or denote three-dimensional space and objects, 畫家的觀圖。 'Yu' is homophonic with the Chinese word Sparrows (Lot 563) and Frogs (Lot 564) are 在其術生後期對發感，作品 for surplus and is thus often associated representative of Chen's exploration into (品562)是當中的，征 with abundance and affluence. Together the visual principles of Western painting, 、、性和長。此作的法幾乎完全 with the bamboo motif, which is a symbol all through the traditional Chinese painter's 和，幾隻鳥在不的空間和構圖中 for resoluteness, honor and chastity, the technique of ink and wash on paper. Creating 成自己的。 work is a prolific expression of traditional a harmonious juxtaposition of movement and 作品(品563)和(品 Chinese values. Stylistically, this present lot stillness within a single painting plane, Chen 564)有著同大膽的和層層 exemplifies Chen's confidence in the swift yet works are a visionary feat of his creative 的水，體空間和主體，見 contained strokes of his brush as he brings oeuvre. his work to life. 方繪畫理，傳中國畫家之水本技巧呈現而出，在畫面呈現動 Similarly working in a combination of 和的，顯的術功與 both the realist Gongbi technique and the 創作。 freely expressive Xieyi style, Gibbons (Lot

560 CHEN WEN HSI Lot 561-564 Detail ±SINGAPORE, 1906²1991³ ±，1906²1991³

Golden Carps 金 signed in Chinese (middle right) 水本 ink and colour on paper : ( ) 90.5 x 97 cm. (35 ⅝ x 38 ¼ in.) 之作中右 two seals of the artist 藝術家印

HK$150,000200,000 來源 US$20,00026,000 洲人收藏

PROVENANCE Private Collection, Australia

322 561 562 CHEN WEN HSI CHEN WEN HSI ±SINGAPORE, 1906²1991³ ±SINGAPORE, 1906²1991³ Gibbons Herons signed in Chinese (upper right) signed in Chinese (upper right) ink and colour on paper ink and colour on paper 138.5 x 68 cm. (26 x 17 ½ in.) 137 x 34 cm. (53 ⅞ x 13 ⅜ in.) two seals of the artist two seals of the artist

HK$200,000300,000 HK$180,000280,000 US$26,00038,000 US$24,00036,000

PROVENANCE PROVENANCE Private Collection, Asia Private Collection, Asia

±，1906²1991³ ±，1906²1991³

水本水本 : 作 (右上) : (右上) 藝術家印藝術家印

來源來源洲人收藏洲人收藏 563 564 CHEN WEN HSI CHEN WEN HSI ±SINGAPORE, 1906²1991³ ±，1906²1991³ ±SINGAPORE, 1906²1991³ ±，1906²1991³

Sparrows Frogs signed in Chinese (upper left) signed in Chinese (upper right) 水本水本 ink and colour on paper ink and colour on paper : ( ) : ( ) 45 x 67 cm. (17 ¾ x 26 ⅜ in.) 記左上 66 x 44.5 cm. (26 x 17 ½ in.) 右上 one seal of the artist 藝術家印一 two seals of the artist 藝術家印

HK$100,000180,000 來源 HK$100,000180,000 來源 US$13,00023,000 洲人收藏 US$13,00023,000 洲人收藏

PROVENANCE PROVENANCE Private Collection, Asia Private Collection, Asia

326 565 LIM CHENG HOE ±SINGAPORE, 1912²1979³ Harbour Scene signed 'CH Lim' (lower right) watercolour on paper 44 x 59 cm. (17 ⅜ x 23 ¼ in.)

HK$40,00060,000 US$5,2007,700

PROVENANCE Acquired directly from Thomas Yeo by the present owner

清 ±，1912²1979³

景

水本 : CH Lim (右) 565 來源新坡畫家

566 TAY BAK KOI ±SINGAPORE, 1939²2005³ Kelong

signed 'Bak Koi 68' (lower left) ink and gouache on paper 100 x 49 cm. (39 ⅜ x 19 Û⁄¾ in.) Painted in 1968

HK$40,00060,000 US$5,2007,700 567 PROVENANCE Private Collection, United Kingdom HONG ZHU AN 安 ±CHINA, B. 1955³ ±中國，B. 1955³ 木 Profound 深 ±， 1939²2005³ ink and colour on paper laid on board 水本於木 105.5 x 105.5 cm. (41 ½ x 41 ½ in.) 村藝術家印三 three seals of the artist 水水本來源 1968年作 HK$70,00090,000 藏者自藝術家本人 : Bak Koi 68 (左) US$9,00012,000

來源 PROVENANCE 英國人收藏 Acquired directly from the artist

566 568 IBRAHIM HUSSEIN 拉 ±MALAYSIA, 1936²2009³ ±馬來，1936²2009³

Conversation 對 signed 'ibrahim hussein', dated '67' and inscribed 'new york' 本 (lower left) 1967 acrylic, paper collage on linen 年作 151 x 100 cm (59 ½ x 39 ⅜ in.) ：ibrahim hussein new york 67 (左) Executed in 1967

HK$500,000700,000 US$65,00090,000 來源 PROVENANCE 原藏者在1960年代得自藝術家本人 Acquired directly from the artist in London in the 1960s 由原藏家家屬收藏 Thence by descent to the present owner

"My life is made of points, textures, colours, shapes, darkness and light, mass, weight, planes, volumes, sounds, smells, colours and warmth." Ibrahim Hussein

The emergence of modernism in Malaysian Conversation was painted during one of harmony and dynamism. The appearance of art, marked most clearly by a divergence Hussein's New York trip that coincided rectangular shapes interweaving the newly from craftsmanship and a traditional with his sojourn to London. In this pivotal formed circles, challenges the organic depiction of subjects, is centred mainly period, Hussein's characteristic works nature of the rounded shapes with its sharp around artistic production of the 60s were starting to showcase significant edges and at the same time introducing the and 70s. Spearheaded by the pioneering influences by the Western abstraction and sense of balance to the work. Different from generation of artists that turned to cubism movement. Set in a background his other early works, Hussein was also abstraction to express their inner thought of periwinkle, Ibrahim Hussein built his seen experimenting with the presentation and feeling, and also as a response to the composition by layering colours which of translucent characteristics in this work. inability to paint figures in art due to the dominate mostly in the geometric form This is achieved by the act of ripping the socio-religious context of the country. of circles. At the top of the composition, fixated newspaper collage and leaving Ibrahim Hussein is one of the most Hussein combined different elements of his some part of the canvas without any colour, important Malaysian modern artists, work. Amorphous forms in multicolour are exposing the natural quality of the linen. recognised for his distinctive style that seen colliding and reacting to one another, While appearance of solid strips of dark draws on his strong sensitivity towards accompanied by the newspaper collage grey and brown runs in the background of the graphic qualities of image making. that exudes tactile quality to some parts the central composition subtly anchoring Born in a rural village in Malaysia, Hussein of its surface. The interaction between this lively composition, the introduction was an alumnus of the Nanyang Academy distinct components results in the intense of a semi-circle line on the right side of Fine Arts in Singapore. In 1959, he creation of new forms descending to of the canvas effortlessly balances the attended the Bryan Shaw School of Art the centre of the painting. Through this whole pictorial plane. Without a doubt, and the Royal Academy in London, funded narration, Ibrahim Hussein captured the Conversation can be regarded as the by a scholarship. It was during his time in essence of the procreation process akin to artist's embodiment to his creative process, London that he was exposed to the works the molecular reaction: some of the forms bustling with excitement, characterized of great European masters that no doubt are seen conjoined while trying to separate with intense hues and varied tones of inspired the trajectory towards abstraction itself. The result is never the same, some festive colours. Thus, Conversation is his artistic development was to take. In of the forms are imperfect while others considerably one of Ibrahim Hussein's most 1970, he became the first Malaysian artist are seen fully rendered in their own solid exciting early abstraction work. to participate in the Venice Biennale. colour, revealing their individual identity in

330 569 571 KHOO SUI HOE SEAH KIM JOO ±MALAYSIAN, B. 1939³ ±SINGAPORE, B. 1939³ One Fine Day Malay Women signed and dated 'Sui Hoe 77' (lower right); exhibition labels signed 'Kim Joo' (lower right); artist's label affixed on the affixed (on the reverse) reverse acrylic on canvas batik dye on cloth 66 x 76 cm. (26 x 29 ⅞ in.) 92.5 x 63 cm. (36 ⅜ x 24 ¾ in.) Painted in 1977 HK$40,00060,000 HK$50,00070,000 US$5,2007,700 US$6,5009,000

EXHIBITED 金 Scotland, The Royal Over-Seas League Art Exhibition ±，B. 1939³ Singapore, National Day Art Exhibition, 1977 來女

±馬來，B. 1939³ : Kim Joo (右); 畫家作於畫

風和日

畫 1977年作 : Sui Hoe 77 (右); 畫有

「皇家聯藝術」蘇格 1977年「新坡國藝術」新坡

570 572 CHUAH THEAN TENG CHUAH THEAN TENG ±MALAYSIA, 1914²2008³ ±MALAYSIA, 1914²2008³ Rice Grinding Kelong signed 'Teng' (lower left) signed 'Teng' (lower left) batik dye on cloth batik dye on cloth 85.5 x 63 cm. (33 ⅞ x 24 ¾ in.) 59.5 x 45.5 cm. (23 ½ x 18 in.) Executed in 1975 HK$70,00080,000 HK$60,00080,000 US$9,00010,000 US$7,70010,000 天天 ±馬來，1914²2008³ ±馬來，1914²2008³ 村米 : Teng (左) 1975年作 : Teng (左) The Vibrant Collective of Indonesian Art

From the vibrant of collective of Indonesian It was under the tutelage of Ries Mulder at An inspirational mentor to Dachlan at (ITB), Known to have developed his own individual art in the second half of the twentieth century 'The Bundung School', that But Mochtar Ahmad Sadali documented his personal form of abstractions, Fajar Sidik was comes the abstract works of Mochtar Apin, developed his distinct style of Cubist life experiences as an artist and as a man moved to create an impressionistic form of But Mochtar, Umi Dachlan, Fadjar Sidik, Abstraction from the 1960s onwards. It is on earth through his abstract paintings. expression based on impulse and intuition in Nashar. Following the period of political through a prolific work like Untitled (Lot 576) Bongkah-Bongkah Emas (Lot 573) makes response to his experience as a professional instability in the mid 1960s, many artists that one sees a clear glimpse of the artist's reference to gold blocks, bringing the painter in Bali from 1957-1961. Beginning moved away from figuratively depicting underlying foundation and school of painting. viewer's attention to the horizontal impasto with semi-abstract forms, his artistic style everyday lives of the people and towards Controlled and compartmentalised in the strokes across the dark canvas of reds and matured and in 1968 in Yogyakarta, he abstraction for fear of association with delineation of shapes and colour, this present orange, all with an underlying shimmer of executed Celebration (Lot 575), a beautiful communist inclinations. lot represents an important stepping stone in gold. Through his works, Sadali contemplates work of oil colours and bold patterns. With A pioneer artist from 'The Bandung School' Mochtar's overvue. on his relationship to God and Nature. a unique composition of geometric shapes also known as the Bandung Institute of Umi Dachlan was a fellow artist in Bandung, Popo Iskandar's artistic exploration sees spread out across the canvas that interact Technology (ITB), Mochtar Apin like his who focused on the exploration of colours the influences of the Western modernist but never touching, Sidak creates a visual peers, was influenced by parallel Western art and shapes in her compositions through movements beyond abstraction, including feast for the eyes as vibrant forms dance movements. In particular, Apin was drawn to a religious stance. With a spiritual motive, expressionism and cubism among others. within the painting plane. Abstract Expressionism and the pursuit of Dachlan's works as exemplified through the Red Nude (Lot 577) is a clear indication of In Jakarta, Nashar propagated his artistic colour fields. Pemandangan Dengan Lipatan- present lot, Untitled, reveals and radiate a this with its reclining figure represented principle, 'three-non', a rejection of technique, Lipatan Kertas(Landscape with Origami) mediative aura through the impasto textures through geometric outlines. Painted between aesthetics and concepts. Approaching (Lot 574) sets an exemplar of Apin's artistic of an abstract landscape. An experience the 67-68s, the oil on canvas work bears abstraction his own way, the artist used endeavors with its bold colours and carefully to behold, her mixed media painting is a similarity his other works of the period as spontaneous brushwork, lines and a subjugated geometric shapes. Endowing humbling work rich in thought. Iskandar reduced forms to a simplified level combination of blues, green, yellow and the work with his own creative flair are the as he reinterpretation and brings out the earth tones as seen in Untitled (Lot 580) to additional dabs of white to solid colours, most essential and recognisable parts of his express and anchor his belief that art-making combining yet juxtaposing a presentation of subject. was a way of life. Lot 573 Lot 574, 576 visual harmony and balance to the viewer.

Lot 577 Detail

334 574 MOCHTAR APIN ±印，1923²1994³ 573 ±INDONESIA, 1923²1994³ Pemandangan Dengan Lipatan-Lipatan Kertas (Landscape 景觀里 AHMAD SADALI with Origami) 畫 ±INDONESIA, 1924²1987³ ±印，1924²1987³ signed 'Mochtar Apin', inscribed 'Jl. Taman Sari 52 Bandung' 1985年作 Bongkah-Bongkah Emas (on the reverse) ： Mochta Apin Jl. Taman Sari 52 Bandung (畫) Bongkah-Bongkah Emas acrylic on canvas collage mixed media on canvas 130 x 155 cm. (51 ⅛ x 61 in.) 畫 100 x 100 cm. (39 ⅜ x 39 ⅜ in.) Painted in 1985

HK$400,000600,000 HK$80,000100,000 US$52,00077,000 US$11,00013,000

PROVENANCE 來源 EXHIBITED The artwork comes with a statement of authenticity issued by the 藝術品有2011年8月4日藝術家之發的 Mochtar Apin: Pameran Retrospektif 1940-1988, Taman Ismail Marzuki, Jakarta, : 回 1940-1988, Taman Ismail son of the artist, dated 4 August 2011 Indonesia Marzuki，雅印

336 575 FADJAR SIDIK ±INDONESIA, 1930²2004³ Celebration

signed 'Fadjar Sidik' and dated '1968' (lower right) oil on canvas 57 x 50 cm. (22 ½ x 19 ⅝ in.) Painted in 1968

HK$40,00060,000 US$5,2007,700

PROVENANCE Collection of the artist's family Acquired from the above by the present owner.

FADJAR SIDIK ±印，1930²2004³

畫 1968年作： Fadjar Sidik 1968 (右)

來源藝術家的家屬收藏藏者自上收藏

576 BUT MOCHTAR ±INDONESIA, 1930²1990³ Untitled

signed 'BUT MR.' and dated '1976' (lower right) oil on canvas 577 145 x 145 cm. (57 ⅛ x 57 ⅛ in.) Painted in 1976 POPO ISKANDAR

HK$80,000100,000 ±INDONESIA, 1927²2000³ ±印，1927²2000³ US$11,00013,000 Red Nude 的 signed 'Popo' and dated '67-68' (lower right) 畫特 oil on canvas 66 x 91 cm. (26 x 35 ⅞ in.) 1967-1968年作 ±印，1930²1990³ Painted 1967-1968 ：Popo 67-68 (右)

無題 HK$70,00090,000

畫 US$9,00012,000 1976年作： BUT MR. 1976 (右)

338 PROPERTY OF AN IMPORTANT ASIAN PRIVATE COLLECTION 洲重要人收藏 579 UMI DACHLAN ±INDONESIA, B. 1924³ Merah Satu (One Red)

signed 'Umi d' an dated '79' (lower right); titled 'Merah Satu', signed and dated again (on the reverse) mixed media on canvas 78 x 68 cm. (30 ¾ x 26 ¾ in.) Painted in 1979

HK$40,00060,000 US$5,2007,700

米 ±印，B. 1924³

畫 1979年作： Umi d 79 (右); Merah Satu Umi d 79 (畫)

580 NASHAR ±INDONESIA, 1928²1994³ Untitled

signed with artist's monogram and dated '12.8.80' (lower left) 578 oil on canvas 139 x 139 cm. (54 ¾ x 54 ¾ in.) SUNARYO 蘇約 Painted in 1980

±INDONESIA, B. 1943³ ±印，B. 1943³ HK$40,00060,000

Dua Penari (Two Dancers) 舞者 US$5,2007,700 signed 'SUNARYO' and dated '86' (lower right) 畫 mixed media on canvas 1986 100 x 100 cm. (39 ⅜ x 39 ⅜ in.) 年作 ±印，1928²1994³ Painted in 1986 ：SUNARYO 86 (右)

HK$160,000260,000 無題

US$21,00033,000 畫 1980年作：藝術家花 12.8.80 (左)

340 582

581 SRIHADI SOEDARSONO 里．蘇 ±INDONESIA, B. 1931³ ±印，B. 1931³ SRIHADI SOEDARSONO 里．蘇 Dua Penari - Tari Legong Keraton 舞者 - 舞 ±INDONESIA, B. 1931³ ±印，B. 1931³ (Two Dancers - Legong Keraton Dance) 畫 Yellow Fields 的田 signed ‘SRIHADI S.’ and dated '89' (upper right); titled 'Dua Penari, Tari 1989年作 signed 'SRIHADI S.' and dated '1985' (upper right); titled 'Yellow Legong Keraton', inscribed '100 x 130 cm/studio: Jalan Cium bulleuit 173, ：SRIHADI S. 89 (右上); Dua Penari, Tari 畫 Fields', inscribed 'GSD 001-0011-19/Jalan Cilembulleuit 173, Bandung, Indonesia', signed and dated again (on the reverse) Legong Keraton 100 x 130 cm/studio: Jalan Cium 1985年作 oil on canvas Bandung, Indonesia/100 x 130 cm.', signed and dated again (on bulleuit 173, Bandung, Indonesia SRIHADI S. 89 the reverse); artist's label affixed on the reverse ：SRIHADI S. 1985 (右上) Yellow Fields GSD 100 x 135 cm. (39 ⅜ x 53 ⅛ in.) (畫) oil on canvas 001-0011-19/Jalan Cilembulleuit 173, Bandung, Painted in 1989 100 x 130 cm. (39 ⅜ x 51 ⅛ in.) Indonesia/100 x 130 cm. SRIHADI S. 1985 (畫) HK$400,000500,000 Painted in 1985 畫家作於畫 US$52,00064,000 HK$400,000600,000 US$52,00077,000

342 PROPERTY OF AN IMPORTANT ASIAN PRIVATE COLLECTION 洲重要人收藏

583 SRIHADI SOEDARSONO ±INDONESIA, B. 1931³ Dinamika Legong

signed 'SRIHADI S.' and dated '2002' (upper right); titled 'Dinamika Legong', inscribed '130 x 200 cm', signed and dated again (on the reverse) oil on canvas 130 x 200 cm. (51 ⅛ x 78 ¾ in.) Painted in 2002

HK$800,0001,200,000 US$110,000150,000

PROVENANCE Private Collection, Asia

里．蘇 ±印，B. 1931³

舞者

畫 2002年作 : SRIHADI S. 2002 (右上); (畫)

來源洲人收藏

344 585 584 S. SUDJOJONO 蘇 ±印，1914²1986³ SRIHADI SOEDARSONO 里．蘇 ±INDONESIA, 1914²1986³ ±INDONESIA, B. 1931³ ±印，B. 1931³ Kembang (Flower) 花 signed with artist's monogram twice (upper right & left); 畫 The Poor 者 signed 'S. Sudjojono' (upper right); titled 'kembang' (upper 1975年作 signed 'SRIHADI S.' and dated '1967' (upper right); titled left); inscribed 'Aku tak mau disengaja mati; baik seribu baik 畫：藝術家花 S. Sudjojono (右上); 藝術家花 'The Poor', inscribed '100 x 130 cm', signed and dated mati didepan kamu; maut dikerak aku hidup, pagi, malam, 1967 Kembang Aku tak mau disengaja mati; baik again (on the reverse) 年作 sore, siang, Bunga, siapa namamu? (lower right) oil on canvas ：SRIHADI S. 1967 (右上) The Poor 100 x 130 cm oil on canvas seribu baik mati didepan kamu; maut dikerak 130 x 100 cm. (51 ⅛ x 39 ⅜ in.) SRIHADI S. 1967 (畫) 70 x 56.5 cm. (27.5 x 22.2 in.) aku hidup, pagi, malam, sore, siang, Bunga, siapa Painted in 1975 Painted in 1967 namamu? (左上)

HK$260,000360,000 HK$120,000220,000 US$34,00046,000 US$16,00028,000

PROVENANCE 來源 Anon. Sale; Sotheby's Singapore, 3 October 1998, Lot 136 1998年10月3日新坡蘇富 136 Acquired from the above sale by the present owner 藏者自上 346 Private Collection, Asia 洲人收藏 586 HENDRA GUNAWAN 拉．那 ±INDONESIA, 1918²1983³ ±印，1918²1983³ Dayung Batu dan Rindu Dayung Batu dan Rindu

signed 'Hendra' , dated '79' (lower left) and titled 'dayung batu dan rindu' 畫 (lower left) 1979年作 oil on canvas 110 x 160 cm. (43.3 x 63 in.) ：Hendra 1979 dayung batu dan rindu (左上) Painted in 1979

HK$900,0001,200,000 US$120,000150,000

PROVENANCE 來源 From the collection of Dr. Lukas Mangindaan Lukas Mangindaan士收藏 Anon. Sale; Sotheby's Singapore, 30 September 2001, Lot 99 2001年9月30日新蘇富坡 99 Acquired from the above sale by the present owner 藏者自上 Private Collection, Asia 洲人收藏

Hendra Gunawan was a prominent member of LEKRA (Lembaga Kebudayaan Rakyat), the cultural arm of the communist affiliated People's Cultural Association, where he sought to express and present a more accurate sense of the socio-environment and the struggles of the times. His works were poignant, capturing the essence of the people and was a means for expressing his nationalistic concerns and love for his country. The artist was eventually caught up in an anti-communist purge during those tumultuous times and incarcerated for thirteen years from 1965. This long imprisonment left him with an intense longing for his family and the outside world, and his use of colour became bolder and defining. As Astri Wright commented "(his paintings) radiate with colour clashing, surprising sweet but somehow almost always brilliantly resolved in the composition as a whole."

(Astri Wright, Soul, Spirit, and Mountain - Preoccupations of Contemporary Indonesian Painters, Oxford University Press, Kuala Lumpur, 1994, p. 177). Painted in 1979, Dayung Batu dan Rindu portrays a scene where a boatman has returned to shore and his family, his oar by his side. Fatigued from his long day out at sea, he lies on the sand with his head on his wife's lap, as she gently massages his head, whilst balancing 2 children suckling on each breast. Another child is seen stepping on the back of the father, ostensibly to massage his sore aching muscles. The scene is further intensified by the usage of strong expressionistic colours with shades of maroon, turquoise and reddish orange. Hendra's canvases are a poetic meditation of the human spirit, the scene depicted here is reminiscent of family, love and elevates the ordinary as a celebration of the soul and the people in his beloved Indonesia.

348 PROPERTY OF AN IMPORTANT ASIAN PRIVATE COLLECTION 洲重要人收藏

587 588

AFFANDI AFFANDI ±INDONESIA, 1907²1990³ ±印，1907²1990³ ±INDONESIA, 1907²1990³ ±印，1907²1990³

Self-Portrait 自畫 Sunﬂowers 日 signed with artist's monogram (lower right); signed again signed with artist's monogram and dated '1984' (upper right) 畫畫 with artist's monogram and dated '1981' (upper right) oil on canvas 1984 oil on canvas 1981年作 110 x 150 cm. (43 ¼ x 59 in.) 年作 78.5 x 69 cm. (30 ⅞ x 27 ⅛ in.) ：藝術家花 (右); 藝術家花 1981 (右上) Painted in 1984 ：藝術家花 1984 (右上) Painted in 1981 HK$750,000950,000 HK$550,000750,000 US$97,000120,000 US$71,00096,000 PROVENANCE 來源 PROVENANCE 來源 Anon. Sale, Christie's Hong Kong, 28 May 2006, Lot 105 2006年5月28日士得 105 Acquired directly from the artist's family by the present owner 藏者自藝術家的家屬 Acquired from the above sale by the present owner 藏者自上 Private Collection, Asia 洲人收藏 Private Collection, Asia 洲人收藏

350 PROPERTY OF AN IMPORTANT ASIAN PRIVATE COLLECTION 洲重要人收藏

589 AFFANDI ±INDONESIA, 1907²1990³ Red Horse

signed with artist's monogram and dated '1968' (lower left) oil on canvas 98 x 120 cm. (39 x 47 in.) Painted in 1968

HK$800,0001,000,000 US$110,000130,000

PROVENANCE Acquired directly from the artist by the previous owner Anon. Sale, Christie's Hong Kong, 28 April 2002, Lot 81 Acquired from the above sale by the present owner Private Collection, Asia

±印，1907²1990³

畫 1968年作：藝術家花 1968 (左)

來源前藏者自藝術家本人 2002年4月28日士得 81 藏者自上洲人收藏

352 590 AFFANDI ±INDONESIA, 1907²1990³ Ox Cart

signed with artist's monogram and dated '1969' (lower left) oil on canvas 97.5 x 138.5 cm. (38 ⅜ x 54 ½ in.) Painted in 1969

HK$1,300,0001,800,000 US$170,000230,000

±印，1907²1990³

畫 1969年作：藝術家花 1969 (左)

354 591 593 JU MING WALASSE TING ±ZHU MING, TAIWAN, B.1938³ ±DING XIONGQUAN, USAÍCHINA, 1928²2010³ ±國Í中國，1928²2010³ Living World Series Two Women with Horse and Parrot 女及 signed and titled in Chinese; dated ''98' (lower right) ink on paper mounted on canvas ink and colour on paper 水本於畫 125 x 247 cm. (49 ¼ x 97 ¼ in.) 53 x 64 cm. (20 ⅞ x 25 ¼ in.) 1990 Painted in 1990 年作 Painted in 1998 two seals of the artist 藝術家印二 one seal of the artist

HK$100,000200,000 HK$25,00045,000 來源 US$13,00026,000 前藏者得自藝術家 US$3,3005,800 美國人收藏

PROVENANCE 法國人收藏 (藏者自上收藏) PROVENANCE Acquired directly from the artist by the previous owner Private Collection, Asia Private Collection, USA The work is accompanied by a certiﬁcate of authenticity Private Collection, France (acquired from the above by the present issued by Kalos Gallery. owner) ±，1938年生³

三

591 本 1998年作：三 '98 (右) 印：

來源洲人收藏此作品美畫廊所之作品 592 JU MING ±ZHU MING, TAIWAN, B.1938³ Living World Series

signed in Chinese; dated '2002' (lower left) ink and colour on paper 66 x 49 cm. (26 x 19 ¼ in.) Painted in 2002 one seal of the artist

HK$25,00045,000 US$3,3005,800

PROVENANCE Private Collection, Asia The work is accompanied by a certiﬁcate of authenticity issued by Kalos Gallery. ±，1938年生³

人

本 2002年作： 2002 (左) 印：

來源洲人收藏 356 此作品美畫廊所之作品 592 595 HO KAN ±HUO GANG, TAIWAN, B. 1932³ Untitled

signed in Chinese, signed 'Ho' and dated '65-70' (lower left); signed in Chinese, signed and dated 'HO-KAN 1970' (on the reverse) oil on canvas 44 x 59 cm. (17 ⅜ x 23 ¼ in.) Painted in 1965-1970

HK$40,00050,000 US$5,2006,400

PROVENANCE Private Collection, Italy

±，1932年生³

595 無題

Ho Kan's early works were composed of pure points, lines and circles, conveying a 畫 surreal sense of mystery. Starting from the mid-1960s, his style has tended toward 1965-1970年作 geometric abstraction with a fuse of Chinese aesthetics, constructing a lyrical ：Ho 65-70 (左)；HO-KAN 1970 (畫) visual language of his own. 早期以的、、圖，畫風充滿的神性。十年代中期以，他的來源作品理性象，入中國精神，別樹一覺詩性的藝術。大人收藏

596

594 HO KAN WUCIUS WONG 無 ±HUO GANG, TAIWAN, B. 1932³ ±，1932年生³ ±WANG WUXIE, CHINA, B. 1936³ ±中國, 1936年生³ N.7316 N.7316 signed in Chinese, signed 'Ho' (lower left); signed 畫 Window Dream #9 之 'HO-KAN' and signed in Chinese (on the reverse); 1988年作 inscribed, signed and dated in Chinese (lower left) inscribed '100 x 80 cm'(on the stretcher) 水本：Ho (左)；HO-KAN ink and colour on paper oil on canvas 2004年作 (畫)；100 x 80 cm (畫) 69.5 x 69.5 cm. (27 ⅜ x 27 ⅜ in.) 100 x 80 cm. (39 ⅜ x 31 ½ in.) Painted in 2004 ：二00四年 (左) Painted in 1988 來源 HK$100,000200,000 來源 HK$60,000120,000 大人收藏

US$13,00026,000 士人收藏 US$7,70015,000 PROVENANCE 1992年《。無以的》 PROVENANCE 2004年9月至10月「無：」圖畫廊 Pontiggia Elena、Veca Alberto Private Collection, Switzerland Private Collection, Italy Campitelli Maria Lattuada 作大 (圖版，無) LITERATURE EXHIBITED 2004年《無：》圖畫廊 (圖版，15) Hong Kong, Grotto Fine Art Ltd., Wucius Wong: Window Dreams, September Pontiggia Elena, Veca Alberto Campitelli Maria, Ho- - October 2004 Kan. Geometrie oltre l'inﬁnito, Studio Lattuada, Italy, 1992 (illustrated, unpaged). LITERATURE Grotto Fine Art Ltd., Wucius Wong: Window Dreams (exh. cat.), Hong Kong, 596 2004 (illustrated, p. 15). 358 597 HON CHI FUN ±HONG KONG, B. 1922³ Bonded Stones

signed and titled 'HON CHI FUN BONDED STONE bonded stones', and titled in Chinese (on the reverse); gallery label of Chatham Gallery affixed to the reverse oil on canvas 106 x 106 cm. (41 ¾ x 41 ¾ in.)

HK$70,000100,000 US$9,00013,000

PROVENANCE Chatham Gallery, Hong Kong Private Collection, USA

±，1922年生³

石約

畫：HON CHI FUN BONDED STONE 石約 bonded 597 stones (畫)；雅畫廊於畫 PROPERTY FROM THE COLLECTION OF CARLO B. CALLEGARI CARLO B. CALLEGARI 人收藏來源雅畫廊 598 美國人收藏 CHAO CHUNG²HSIANG ±ZHAO CHUNXIANG, CHINAÍUSA, 1910²1991³ 599 Untitled FIMA signed 'Chao' (upper left); inscribed, signed, inscribed again, and dated '44'x 47'Chung-Hsiang Chao New york City 70' (on the ±EPHRAÏM ROEYTENBERG, Fima (Ephraïm Roeytenberg) was born in Harbin, China, in 1914 to Russian-Jewish parents. reverse) CHINAÍISRAEL, 1914²2005³ For the first two decades of his life, he studied Chinese painting in Russian Academy collage, ink on paper laid on canvas of Fine Arts in Shanghai, while simultaneously studying Chinese calligraphy. That was paper: 96.6 x 93.3 cm. (38 x 36 ¾ in.) canvas: 115.4 x 109.3 cm. (45 ⅜ x 43 in.) Birds a period when he became intrigued by Chinese philosophy and was deeply influenced Painted in 1970 by Taoism. As he moved to Israel in 1949 and Paris in later years, his multicultural signed '-Fima-' (lower right) background allowed him to use Western-influenced abstract painting methods to oil on canvas HK$120,000180,000 81 x 97.5 cm. (31 ⅞ x 38 ⅜ in.) recover the spirituality of the Far East, marking his distinctive and original identity in US$16,00023,000 Painted in 1981 contemporary art. Birds (Lot 599) is consistent with Fima's other works in terms of his abstract use HK$50,00070,000 PROVENANCE of colours. Against a brushed black background is a stroke of pink to the left, and Private Collection, New York, USA (acquired directly from the artist US$6,5009,000 several strokes of white and blue to the right, allowing the audience to envision birds by the present owner) being trapped in a dark space. The use of white to the left edge of the painting and its PROVENANCE descending trace indicates a window of light that calls for the birds to an outer space. 春 Acquired directly from the artist by the The pursuit of natural objects and birds as a symbol of longevity in Taoism therefore previous owner ±中國Í國，1910²1991³ Bineth Gallery, Tel Aviv, Israel transcends the visual intuition to reflect Fima's own spiritual state. 馬於1914年在中國爾出生，是人。他年時在上海的術無題中國畫，同時中國法。在那時期，他對中國生，受所。他於1949年以色，年於。其多元化的成長背景，讓他能巧妙地用水本於畫 ±中國Í以色，1914²2005³ 方繪畫的方來表達方的精神，創作出一的當術作品。本：96.6 x 93.3 cm. (38 x 36 3/4 in.) (Lot 599) 畫：115.4 x 109.3 cm. (45 3/8 x 43 in.) 鳥與馬的其他作品一用了的色。畫作的背景上黑色，左是一抹粉 1970年作色，右則繪上幾白色和色，讓觀者以到鳥被在黑暗之中的情景。左面的 : Chao (左上)；44'x 47'Chung-Hsiang Chao New york 畫白色逐漸色的，的一，鳥面的。術家以自然物和 City 70 (畫) 1981年作鳥來表現中長的，超了上的觀，以了馬的內。：-Fima- (右) 來源來源美國約人收藏 (藏者得自藝術家) 598 前藏者自藝術家 360 以特拉夫 Bineth畫廊 600 602 ZAO WOU²KI LONG CHIN²SAN ±ZHAO WUJI, FRENCHÍCHINESE, 1920²2013³ ±LANG JINSHAN, CHINA, 1892²1995³ Untitled APPREHENSION; MUSIC OF THE WATERFALL; & LONG CHIN-SAN signed in Chinese; signed 'ZAO'; inscribed 'épreuve d'artiste' Music of the Waterfall: inscribed and dated 'Compliment of Chinsan Long (lower margin) 24.1.1972' (lower right); Long Chin-San: dated, signed and inscribed in Chinese lithograph (on the lower left and upper right) image : 23 x 31.5 cm. (9 x 12 ⅜ in.) three gelatin silver prints paper : 32.5 x 41.5 cm. (12 ¾ x 16 ⅜ in.) image: 21.9 x 17.3 cm. (8 ⅝ x 6 ¾ in.) overall: 30.3 x 23 cm. (11 ⅞ x 9 in.); edition EA (artist proof) image: 25.2 x 20.2 cm. (9 ⅞ x 8 in.) overall: 30.3 x 23 cm. (11 ⅞ x 9 in.) ; Executed in 1950 & image: 19.5 x 13.7 cm. (7 ⅝ x 5 ⅜ in.) overall: 27.5 x 19.3 cm. (10 ⅞ x 7 ⅝ in.) (3) Executed in 1938; 1933; & 1958 HK$25,00055,000 Long Chin-San: one seal of the artist US$3,3007,000 HK$50,00070,000 PROVENANCE US$6,5009,000 Private Collection, Europ PROVENANCE LITERATURE Private Collection, Australia Edition Heede & Moestrup, Zao Wou-Ki: The Graphic Work, A Catalogue 600 Raisonne 1937-1995, Copenhagen, Denmark, 1994 (illustrated, plate 48, p.40). LITERATURE Apprehension; & Music of the Waterfall: Photographic Research Institute of College of 601 無 Chinese Culture, Selected Works of Chin-San Long, Taipei, Taiwan, 1971 (illustrated, unpaged) ±法國Í中國，1920²2013³ Apprehension; & Music of the Waterfall: China Photographic Publishing House, Master ZAO WOU²KI 無題 of Photography – Long JingShan, Beijing, China, 2003 (illustrated, p.19, p.23,) ±ZHAO WUJI, FRANCEÍCHINA, 1920²2013³ 石版版畫 Idylle Champêtre (Rural Idyll) 版：EA (藝術家版) signed in Chinese, signed and dated 'Zao 50' (lower right); 1950年作郎山 numbered '25/25' (lower left) ： épreuve d'artiste無 ZAO(方) ±中國，1892²1995³ etching 14.8 x 12.1 cm. (5 ⅞ x 4 ¾ in.) edition 25/25 觀自得; 獨; 及郎山 Executed in 1950 來源歐洲人收藏相 (三張) HK$40,00060,000 1938年作；1933年作；及 1958年作 US$5,2007,700 ：《獨》: Compliment of Chinsan Long 24.1.1972 (右) 《郎 1994年《無版畫 1937-1995》Edition Heede & Moestrup 本山》： (右) 四十年春山 (左) PROVENANCE 根 (圖版，48圖，40) 印: 《郎山》；郎山 Private Collection, Asia 來源 LITERATURE 洲人收藏 Nesto Jacometti ed., Catalogue Raisonné de l'œuvre gravée et lithographiée de Zao Wou-Ki, 1949-1954, Gutekunst & Klipstein, Berne, Switzerland, 1955 (illustrated, plate 15, p. 27) 觀自得; 及獨: 1971年《郎山十年景》化 Yves Rivière ed., Zao Wou-ki: Les estampes 1937-1974, Arts et Métiers (圖版，無) Graphiques, Paris, France, 1975 (illustrated in black and white, plate 28, p. 25) 觀自得; 及獨: 2003年《大師郎山》中國出版中國 Jørgen Ågerup, Zao Wou-Ki: The Graphic Work: A Catalogue Raisonne 1937- (圖版，19，23 ) 1994, Edition Heede & Moestrup, Skorping, Denmark, 1994 (illustrated, plate 27, p.30)

無 ±法國Í中國，1920²2013³

田園歌刻版畫 1950年作版：25/25 ：無 Zao 50 (右)；25/25 (左)

來源洲人收藏

1955年《無版畫 1949-1954》Nesto Jacometti Gutekunst & Klipstein Berne出版士 (圖版，15圖，27) 1975年《無版畫 1937-1974》Yves Rivière Arts et Métiers Graphiques 巴法國 (白圖版28圖，25) 1995年《無版畫 1937-1995》Jørgen Ågerup著Edition Heede & Moestrup 平本根 (圖版，27圖，30)

601 362 A INOUE, YUICHI 515 SMIT, ARIE · ABAD, PACITA 538 ISKANDAR, POPO · 577 319, 320, 321, 322, 323, 324 AFFANDI 587, 588, 589, 590 ITO SHINSUI 514 SOE NYUNT LAY (WINDY) 374 CONDITIONS OF SALE • BUYING AT CHRISTIE'S ALCUAZ, FEDERICO AGUILAR SOEDARSONO, SRIHADI J · 581, 582, 583, 584 · · 539 is fixed at the latest practical date prior to the printing proof of directors and beneficial owners; JU MING 434, 435, 591, 592 SOUZA, FRANCIS NEWTON CONDITIONS OF SALE AMORSOLO, FERNANDO CUETO These Conditions of Sale and the Important Notices of the catalogue and may have changed by the time of (iii) for trusts, partnerships, offshore companies · · 397 529, 530, 531, 532 and Explanation of Cataloguing Practice set out our sale. and other business structures, please contact us in K advance to discuss our requirements. ANG,KIUKOK 533 STRASSER, ROLAND · 334, 335 the terms on which we offer the lots listed in this KATSUSHIKA, HOKUSAI SU XIAOBAI 430, 431 catalogue for sale. By registering to bid and/or by 6 WITHDRAWAL APIN, MOCHTAR 574 Christie's may, at its option, withdraw any lot at any (b) We may also ask you to give us a financial 490, 491, 498, 502 SUDJOJONO, S. 585 bidding at auction you agree to these terms, so you AUNG KHIN 376 should read them carefully before doing so. You will time prior to or during the sale of the lot. Christie's has reference and/or a deposit as a condition of allowing KHOO SUI HOE 569 SUGA, KISHIO 526, 527, 528 AY-O 525 find a glossary at the end explaining the meaning of no liability to you for any decision to withdraw. you to bid. For help, please contact our Client Services KOJIMA, ZENZABURO 469 SUMI, YASUO 519, 520 the words and expressions coloured in bold. Department on +852 2760 1766. B KUMAR, RAM · 394 SUNARYO 578 7 JEWELLERY (a) Coloured gemstones (such as rubies, sapphires 2 RETURNING BIDDERS SWAMINATHAN, JAGDISH Unless we own a lot (D symbol), Christie's acts as BA KHINE 381 L agent for the seller. and emeralds) may have been treated to improve their We may at our option ask you for current identification BAKRE, SADANAND · 395 · 402 look, through methods such as heating and oiling. as described in paragraph B1(a) above, a financial LAO LIANBEN 537 These methods are accepted by the international reference or a deposit as a condition of allowing you BHATTACHARJEE, BIKASH A BEFORE THE SALE LE PHO 310, 311, 312, 313, 316, 317, 318, T jewellery trade but may make the gemstone less to bid. If you have not bought anything from any of our · 393 1 DESCRIPTION OF LOTS strong and/or require special care over time. salerooms in the last two years or if you want to spend 338, 339, 340, 363, 364, 365 TABUENA, ROMEO BLANCO, ANTONIO (a) Certain words used in the catalogue description (b) All types of gemstones may have been improved more than on previous occasions, please contact 336 LIM CHENG HOE 565 · 540, 541, 545, 546 have special meanings. You can find details of these on by some method. You may request a gemmological our Bids Department on+852 2978 9910 or email to the page headed "Important Notices and Explanation BONNET, RUDOLF 337 LIN, RICHARD 408, 409, 410 TAKAMATSHU, JIRO 524 report for any item which does not have a report if the [email protected]. LIU JIUTONG 485 TANAKA, ATSUKO 411 of Cataloguing Practice" which forms part of these request is made to us at least three weeks before the BUENAVENTURA, CESAR terms. You can find a key to the Symbols found next date of the auction and you pay the fee for the report. 3 IF YOU FAIL TO PROVIDE THE RIGHT LIU KANG 557 T'ANG HAYWEN 465 544 to certain catalogue entries under the section of the (c) We do not obtain a gemmological report for DOCUMENTS LIU KUO-SUNG 423, 424, 425, 426 TAY BAK KOI 566 catalogue called "Symbols Used in this Catalogue". every gemstone sold in our auctions. Where we If in our opinion you do not satisfy our bidder C LONG CHIN-SAN 602 TENG NEE CHONG 556 (b) Our description of any lot in the catalogue, any do get gemmological reports from internationally identification and registration procedures including, LUO ZHONGLI 470, 480 THANG TRAN PHENH 360, 361 condition report and any other statement made by us accepted gemmological laboratories, such reports but not limited to completing any anti-money CHAN, LUIS 445, 446 (whether orally or in writing) about any lot, including TIN MAUNG OO 383 will be described in the catalogue. Reports from laundering and/or anti-terrorism financing checks CHANDRA, AVINASH · 396 M about its nature or condition, artist, period, materials, American gemmological laboratories will describe we may require to our satisfaction, we may refuse to CHANN, GEORGE 433 TING YIN-YUNG 466 approximate dimensions or provenance are our any improvement or treatment to the gemstone. register you to bid, and if you make a successful bid, opinion and not to be relied upon as a statement of CHAO CHUNG-HSIANG 598 MAI TRUNG THU TING, WALASSE 471, 472, 473, 593 Reports from European gemmological laboratories we may cancel the contract for sale between you and 301, 302, 303, 304, 305, 306, 307, 308, 309 TOTOYA, HOKKEI 503 fact. We do not carry out in-depth research of the sort will describe any improvement or treatment only if the seller. Christie's may, at its option, specify the type CHEN CHENG-PO carried out by professional historians and scholars. All MEIER, THEO · TRINH VAN 354 we request that they do so, but will confirm when no of photo identification it will accept, for the purposes 447, 448, 449, 450, 451, 452, 453, 454, 455 dimensions and weights are approximate only. improvement or treatment has been made. Because of of bidder identification and registration procedures. CHEN TING-SHIH 486, 487, 488, 489 329, 330, 331, 332, 333 TSENG YU-HO 432 differences in approach and technology, laboratories CHEN WEN HSI 560, 561, 562, 563, 564 MERPRES, ADRIEN-JEAN LE MAYEUR TSUKIOKA YOSHITOSHI 513 2 OUR RESPONSIBILITY FOR OUR DESCRIPTION may not agree whether a particular gemstone has 4 BIDDING ON BEHALF OF ANOTHER PERSON OF LOTS been treated, the amount of treatment or whether (a) As authorised bidder: If you are bidding on behalf CHEN YIFEI 476, 477, 478 · · 326, 327, 328 MIN WAE AUNG 375 U We do not provide any guarantee in relation to the treatment is permanent. The gemmological of another person, that person will need to complete CHEONG SOO PIENG nature of a lot apart from our authenticity warranty laboratories will only report on the improvements or the registration requirements above before you can MIN ZAW 382 U HLA HAN 371 548, 549, 550, 551, 552, 553, 554, 555 contained in paragraph E2 and to the extent provided treatments known to the laboratories at the date of the bid, and supply a signed letter authorising you to bid CHI HONG 484 MOCHTAR, BUT 576 U KHAM LUN 372 in paragraph I below. report. for him/her. CHIA YU CHIAN 558, 559 MYAT KYAWT 377 U LUN GYWE 369, 373 (d) For jewellery sales, estimates are based on the (b) As agent for an undisclosed principal: If you are U NGWE GAING 366, 367 3 CONDITION information in any gemmological report or, if no report bidding as an agent for an undisclosed principal (the CHU TEH CHUN (a) The condition of lots sold in our auctions can vary is available, assume that the gemstones may have N U SAN WIN 370 ultimate buyer(s)), you accept personal liability to pay 404, 405, 406, 462, 463, 464 widely due to factors such as age, previous damage, been treated or enhanced. the purchase price and all other sums due. Further, CHUAH THEAN TENG 570, 572 NASHAR 580 UMEHARA, RYUZABURO restoration, repair and wear and tear. Their nature you warrant that: means that they will rarely be in perfect condition. CONCEPCION, FLORENCIO B. 536 NGUYEN GIA TRI 350, 351, 352 516, 517, 518 8 WATCHES & CLOCKS (i) you have conducted appropriate customer due NGUYEN KHANG 342 UTAGAWA HIROSHIGE II Lots are sold "as is" in the condition they are in at (a) Almost all clocks and watches are repaired in diligence on the ultimate buyer(s) of the lot(s) in the time of the sale, without any representation or D NGUYEN PHAN CHANH 341 506, 507 their lifetime and may include parts which are not accordance with any and all applicable anti-money warranty or assumption of liability of any kind as to original. We do not give a warranty that any individual laundering and sanctions laws, consent to us relying UTAGAWA, HIROSHIGE DACHLAN, UMI · 579 NGUYEN SANG 349 condition by Christie's or by the seller. component part of any watch or clock is authentic. on this due diligence, and you will retain for a period of (b) Any reference to in a catalogue entry DO QUANG EM 362 NGUYEN SIÊN 359 492, 493, 494, 495, 496, 505, 512 condition Watchbands described as "associated" are not part of not less than 5 years the documentation and records NGUYEN TRUNG 356, 357 UTAGAWA, KUNISADA 497, 504 or in a condition report will not amount to a full the original watch and may not be authentic. Clocks evidencing the due diligence; DOMOTO, HISAO 521, 522, 523 description of condition, and images may not show NGUYEN TU NGHIEM 347, 348, 353 UTAGAWA, KUNIYOSHI may be sold without pendulums, weights or keys. (ii) you will make such documentation and records DUCHANEE, THAWAN a lot clearly. Colours and shades may look different (b) As collectors' watches and clocks often have very evidencing your due diligence promptly available for 508, 509, 510, 511 · 384, 385, 386 NIRAND, PICHAI 390, 391 in print or on screen to how they look on physical fine and complex mechanisms, a general service, immediate inspection by an independent third-party NYEIN CHAN SU 3791 UTAGAWA, TOYOHIRO 499 inspection. Condition reports may be available to change of battery or further repair work may be auditor upon our written request to do so. We will not E UTAGAWA, TOYOKUNI 497 help you evaluate the condition of a lot. Condition necessary, for which you are responsible. We do not disclose such documentation and records to any third- O reports are provided free of charge as a convenience give a warranty that any watch or clock is in good parties unless (1) it is already in the public domain, EMJAROEN, PRATUANG 388, 389 V to our buyers and are for guidance only. They oÌer our working order. Certificates are not available unless (2) it is required to be disclosed by law, or (3) it is in OLAZO, ROMULO 542, 543 opinion but they may not refer to all faults, inherent described in the catalogue. accordance with anti-money laundering laws; F VITALIS, MACARIO 547 defects, restoration, alteration or adaptation because (c) Most watches have been opened to find out (iii) the arrangements between you and the ultimate P VU CAO DAM 314, 315, 343, 344, 345, 346 our staÌ are not professional restorers or conservators. the type and quality of movement. For that reason, buyer(s) are not designed to facilitate tax crimes; FIMA 599 For that reason they are not an alternative to PADAMSEE, AKBAR · 400 watches with water resistant cases may not be (iv) you do not know, and have no reason to suspect, FONG CHUNG-RAY 436 examining a lot in person or taking your own waterproof and we recommend you have them that the funds used for settlement are connected PANG JIUN 416, 417, 418 W professional advice. It is your responsibility to ensure checked by a competent watchmaker before use. with, the proceeds of any criminal activity or that the G WANG YAN CHENG 429 that you have requested, received and considered any Important information about the sale, transport and ultimate buyer(s) are under investigation, charged with R WANG YIDONG 479 condition report. GUANWAN, HENDRA · 586 shipping of watches and watchbands can be found in or convicted of money laundering, terrorist activities or RAMREE TIN SHWE 378 WONG, WUCIUS 594 paragraph H2(f). other money laundering predicate crimes. 4 VIEWING LOTS PREAUCTION A bidder accepts personal liability to pay the H RAN IN-TING 422 WONG-UPARAJ, DAMRONG 387 purchase (a) If you are planning to bid on a lot, you should B REGISTERING TO BID price and all other sums due unless it has been agreed RAZA, SYED HAIDER · · 399 inspect it personally or through a knowledgeable HO KAN 595, 596 1 NEW BIDDERS in writing with Christie's before commencement of the RHEE SEUNDJA 413, 414, 415 X representative before you make a bid to make sure HOANG TICH CHU 355 (a) If this is your first time bidding at Christie's or you auction that the bidder is acting as an agent on behalf ROY, JAMINI · 392 XIAO RUONG 419, 420, 421 that you accept the description and its condition. We of a named third party acceptable to Christie's and HOFKER, WILLEM GERARD 325 recommend you get your own advice from a restorer are a returning bidder who has not bought anything from any of our salerooms within the last two years that Christie's will only seek payment from the named HON CHI FUN 597 S Y or other professional adviser. third party. (b) Pre-auction viewings are open to the public free you must register at least 48 hours before an auction HONG ZHU AN 567 to give us enough time to process and approve your SADALI, AHMAD · 573 YANG CHI HUNG 427, 428 of charge. Our specialists may be available to answer HSIAO CHIN registration. We may, at our option, decline to permit 5 BIDDING IN PERSON questions at pre-auction viewings or by appointment. If you wish to bid in the saleroom you must register 438, 439, 440, 441, 442, 443, 444 SANTOSH, GULAM RASOOL YANG SANLANG 474, 475 you to register as a bidder. You will be asked for the · · 401 YASHIMA, GAKUTEI 500, 501 for a numbered bidding paddle at least 30 minutes HSU TUNG-LUNG 437 5 ESTIMATES following: (i) for individuals: Photo identification (driving licence, before the auction. For help, please contact the Client HUSAIN, MAQBOOL FIDA SANYU 456, 457 Estimates are based on the condition, rarity, quality Services Department on +852 2760 1766. SAW MAUNG 368 Z and provenance of the lots and on prices recently national identity card or passport) and, if not shown · · 398, 403 on the ID document, proof of your current address (for SEAH KIM JOO 571 ZAO WOU KI paid at auction for similar property. Estimates can 6 BIDDING SERVICES HUSSEIN, IBRAHIM · 568 change. Neither you, nor anyone else, may rely on any example, a current utility bill or bank statement); SHEN HANWU 481 407, 458, 459, 460, 461, 600, 601 (ii) for corporate clients: Your Certificate of The bidding services described below are a free estimates as a prediction or guarantee of the actual service offered as a convenience to our clients and SHIY DE-JINN 467, 468 ZAW WIN PE 380 Incorporation or equivalent document(s) showing your I selling price of a lot or its value for any other purpose. Christie's is not responsible for any error (human or ZÓBEL, FERNANDO · 534, 535 name and registered address, photo ID copy of the IMAI, TOSHIMITSU 412 SIDIK, FADJAR 575 Estimates do not include the buyer's premium or any otherwise), omission or breakdown in providing these applicable taxes. Estimates may be shown in diÌerent authorized bidder, letter of authorization duly signed INGUIMBERTY, JOSEPH 358 by legal representative and, where applicable, chopped services. currencies from that of the saleroom for guidance only. A¡ PHONE BIDS The rate of exchange used in our printed catalogues with company stamp and together with documentary ASIAN 20TH CENTURY ART INDEX DAY SALE 365 Your request for this service must be made no later increments are shown for guidance only on the Written 2 OUR AUTHENTICITY WARRANTY announced at the time of sale. 2 TRANSFERRING OWNERSHIP TO YOU 2760 1766 / Email: [email protected] than 24 hours prior to the auction. We will accept bids Bid Form at the back of this catalogue. We warrant, subject to the terms below, that the lots in (b) To make a claim under this paragraph you must You will not own the lot and ownership of the lot will (c) If you do not collect any lot promptly following by telephone for lots only if our staff are available to our sales are authentic (our "authenticity warranty"). give written details of the defect and return the lot not pass to you until we have received full and clear the auction we can, at our option, remove the lot to take the bids. Telephone bids cannot be accepted for 7 CURRENCY CONVERTER If, within 5 years of the date of the auction, you give TM to the sale room at which you bought it in the same payment of the purchase price, even in circumstances another Christie's location or an aÌiliate or third party lots estimated below HK$30,000. If you need to bid in a language The saleroom video screens, Christies LIVE and notice to us that your lot is not authentic, subject to condition as at the time of sale, within 14 days of the where we have released the lot to the buyer. warehouse. other than in English, you must arrange this well before Christie's website may show bids in some other major the terms below, we will refund the purchase price date of the sale. (d) If you do not collect a lot by the end of the 30th day the auction. We may record telephone bids. By bidding currencies from that of the saleroom. Any conversion paid by you. The meaning of authentic can be found (k) South East Asian Modern and Contemporary 3 TRANSFERRING RISK TO YOU following the date of the auction, unless otherwise on the telephone, you are agreeing to us recording your is for guidance only and we cannot be bound by in the glossary at the end of these Conditions of Sale. Art and Chinese Calligraphy and Painting. The risk in and responsibility for the lot will transfer to agreed in writing: conversations. You also agree that your telephone bids any rate of exchange used by Christie's. Christie's is The terms of the authenticity warranty are as follows: In these categories, the authenticity warranty does you from whichever is the earlier of the following: (i) we will charge you storage costs from that date. are governed by these Conditions of Sale. not responsible for any error (human or otherwise), (a) It will be honoured for claims notified within a not apply because current scholarship does not permit (a) When you collect the lot; or (ii) we can, at our option, move the lot to or within B¡ INTERNET BIDS ON CHRISTIE'S LIVE™ omission or breakdown in providing these services. period of 5 years from the date of the auction. After the making of definitive statements. Christie's does, (b) At the end of the 30th day following the date of the an affiliate or third party warehouse and charge you For certain auctions we will accept bids over the such time, we will not be obligated to honour the however, agree to cancel a sale in either of these two auction or, if earlier, the date the lot is taken into care transport costs and administrative fees for doing so. Internet. Please visit www.christies.com/livebidding 8 SUCCESSFUL BIDS authenticity warranty. categories of art where it has been proven the lot is by a third party warehouse unless we have agreed (iii) we may sell the lot in any commercially reasonable and click on the 'Bid Live' icon to see details of how to Unless the auctioneer decides to use his or her (b) It is given only for information shown in a forgery. Christie's will refund to the original buyer otherwise with you in writing. way we think appropriate. watch, hear and bid at the auction from your computer. discretion as set out in paragraph C3 above, when UPPERCASE type in the first line of the catalogue the purchase price in accordance with the terms of (iv) the storage terms which can be found at www. As well as these Conditions of Sale, internet bids are the auctioneer's hammer strikes, we have accepted description (the "Heading"). It does not apply to any Christie's authenticity warranty, provided that the 4 WHAT HAPPENS IF YOU DO NOT PAY christies.com/storage shall apply. governed by the Christie's LIVE™ terms of use which the last bid. This means a contract for sale has been information other than in the Heading even if shown original buyer notifies us with full supporting evidence (a) If you fail to pay us the purchase price in full by (v) nothing in this paragraph is intended to limit our are available on www.christies.com. formed between the seller and the successful bidder. in UPPERCASE type. documenting the forgery claim within twelve (12) the due date, we will be entitled to do one or more rights under paragraph F4. C¡ WRITTEN BIDS We will issue an invoice only to the registered bidder (c) The authenticity warranty does not apply to any months of the date of the auction. Such evidence of the following (as well as enforce our rights under You can find a Written Bid Form at the back of our who made the successful bid. While we send out Heading or part of a Heading which is qualified. must be satisfactory to us that the lot is a forgery in paragraph F5 and any other rights or remedies we H TRANSPORT AND SHIPPING catalogues, at any Christie's oÌice or by choosing the invoices by post and/or email after the auction, we Qualified means limited by a clarification in a lot's accordance with paragraph E2(h)(ii) above and the have by law): 1 TRANSPORT AND SHIPPING sale and viewing the lots online at www.christies.com. do not accept responsibility for telling you whether or catalogue description or by the use in a Heading of lot must be returned to us in accordance with E2h(iii) (i) to charge interest from the due date at a rate of 7% not your bid was successful. If you have bid by written one of the terms listed in the section titled Qualified We will enclose a transport and shipping form with We must receive your completed Written Bid Form at above. Paragraphs E2(b), (c), (d), (e), (f) and (g) and (i) a year above the 3-MONTH HIBOR rate from time to each invoice sent to you. You must make all transport least 24 hours before the auction. Bids must be placed bid, you should contact us by telephone or in person Headings on the page of the catalogue headed also apply to a claim under these categories. time on the unpaid amount due; as soon as possible after the auction to get details "Important Notices and Explanation of Cataloguing and shipping arrangements. However, we can arrange in the currency of the saleroom. The auctioneer will (ii) we can cancel the sale of the lot. If we do this, we to pack, transport and ship your property if you ask of the outcome of your bid to avoid having to pay Practice". For example, use of the term "ATTRIBUTED take reasonable steps to carry out written bids at the may sell the lot again, publically or privately on such us to and pay the costs of doing so. We recommend unnecessary storage charges. TO…" in a Heading means that the lot is in Christie's F PAYMENT lowest possible price, taking into account the reserve. terms we shall think necessary or appropriate, in that you ask us for an estimate, especially for opinion probably a work by the named artist but no 1 HOW TO PAY If you make a written bid on a lot which does not have which case you must pay us any shortfall between the any large items or items of high value that need 9 LOCAL BIDDING LAWS warranty is provided that the lot is the work of the (a) Immediately following the auction, you must pay a reserve and there is no higher bid than yours, we will purchase price and the proceeds from the resale. You professional packing before you bid. We may also You agree that when bidding in any of our sales named artist. Please read the full list of Qualified the purchase price being: bid on your behalf at around 50% of the low estimate must also pay all costs, expenses, losses, damages suggest other handlers, packers, transporters or that you will strictly comply with all local laws and Headings and a lot's full catalogue description (i) the hammer price; and or, if lower, the amount of your bid. If we receive written and legal fees we have to pay or may suÌer and any experts if you ask us to do so. For more information, regulations in force at the time of the sale for the before bidding. (ii) the buyer's premium; and bids on a lot for identical amounts, and at the auction shortfall in the seller's commission on the resale; please contact Christie's Post-Sale Services on+852 relevant sale site. (d) The authenticity warranty applies to the Heading (iii) any duties, goods, sales, use, compensating or these are the highest bids on the lot, we will sell the lot (iii) we can pay the seller an amount up to the net 2760 1766 or email to [email protected]. as amended by any Saleroom Notice. service tax. to the bidder whose written bid we received first. proceeds payable in respect of the amount bid by We will take reasonable care when we are handling, (e) The authenticity warranty does not apply where Payment is due no later than by the end of the 7th D THE BUYER'S PREMIUM, TAXES your default in which case you acknowledge and packing, transporting and shipping a lot. However, scholarship has developed since the auction leading to calendar day following the date of the auction (the 1 THE BUYER'S PREMIUM understand that Christie's will have all of the rights of if we recommend another company for any of these C AT THE SALE a change in generally accepted opinion. Further, it does "due date"). In addition to the hammer price, the successful the seller to pursue you for such amounts; purposes, we are not responsible for their acts, failure 1 WHO CAN ENTER THE AUCTION not apply if the either matched the generally (b) We will only accept payment from the registered bidder agrees to pay us a buyer's premium on the Heading (iv) we can hold you legally responsible for the to act or neglect. We may, at our option, refuse admission to our accepted opinion of experts at the date of the sale or bidder. Once issued, we cannot change the buyer's hammer price of each lot sold. On all lots we charge purchase price and may begin legal proceedings to premises or decline to permit participation in any drew attention to any conflict of opinion. name on an invoice or re-issue the invoice in a diÌerent 25% of the hammer price up to and including recover it together with other losses, interest, legal 2 EXPORT AND IMPORT auction or to reject any bid. (f) The does not apply if name. You must pay immediately even if you want to HK$2,000,000, 20% on that part of the hammer authenticity warranty fees and costs as far as we are allowed by law; Any lot sold at auction may be affected by laws on the lot can only be shown not to be authentic by a export the lot and you need an export licence. (v) we can take what you owe us from any amounts 2 RESERVES price over HK$2,000,000 and up to and including (c) You must pay for lots bought at Christie's in Hong exports from the country in which it is sold and the HK$30,000,000, and 12.5% of that part of the scientific process which, on the date we published which we or any company in the Christie's Group may import restrictions of other countries. Many countries Unless otherwise indicated, all lots are subject to a the catalogue, was not available or generally accepted Kong in the currency stated on the invoice in one of hammer price above HK$30,000,000. owe you (including any deposit or other part-payment require a declaration of export for property leaving reserve. We identify lots that are offered without for use, or which was unreasonably expensive or the following ways: which you have paid to us); reserve with the symbol • next to the lot number. The (i) Christie's is pleased to offer clients the option of the country and/or an import declaration on entry of 2 TAXES impractical, or which was likely to have damaged the (vi) we can, at our option, reveal your identity and property into the country. Local laws may prevent you reserve cannot be more than the lot's low estimate. lot. viewing invoices, paying and arranging shipping online contact details to the seller; The successful bidder is responsible for any applicable through MyChristie's. To log in, or if you have yet to from importing a lot or may prevent you selling a lot in tax including any VAT, sales or compensating use tax (g) The benefit of the authenticity warranty is only (vii) we can reject at any future auction any bids made the country you import it into. 3 AUCTIONEER'S DISCRETION create an online account, please go to: www.christies. by you or on your behalf or to obtain a deposit from or equivalent tax wherever such taxes may arise on available to the original buyer shown on the invoice We will not be obliged to cancel your purchase and The auctioneer can at his sole option: for the issued at the time of the sale and only if, on com/MyChristies. While this service is available for you before accepting any bids; the hammer price and the buyer's premium. It is lot refund the purchase price if your lot may not be (a) refuse any bid; most lots, payment and shipping must be arranged (viii) to exercise all the rights and remedies of a person the buyer's responsibility to ascertain and pay all the date of the notice of claim, the original buyer is the exported, imported or it is seized for any reason (b) move the bidding backwards or forwards in any offline for some items. Please contact Post-Sale holding security over any property in our possession taxes due. In all circumstances Hong Kong law takes full owner of the lot and the lot is free from any claim, by a government authority. It is your responsibility way he or she may decide, or change the order of the Services directly to coordinate. owned by you, whether by way of pledge, security precedence. Christie's recommends you obtain your interest or restriction by anyone else. The benefit of to determine and satisfy the requirements of any lots; (ii) Wire transfer interest or in any other way as permitted by the law of own independent tax advice. this authenticity warranty may not be transferred to applicable laws or regulations relating to the export or (c) withdraw any lot; anyone else. You must make payments to: the place where such property is located. You will be For lots Christie's ships to the United States, a state import of any lot you purchase. (d) divide any lot or combine any two or more lots; (h) In order to claim under the deemed to have granted such security to us and we sales or use tax may be due on the hammer price, authenticity warranty (a) You alone are responsible for getting advice (e) reopen or continue the bidding even after the you must: HSBC may retain such property as collateral security for your buyer's premium and shipping costs on the lot, about and meeting the requirements of any laws or hammer has fallen; and Head OÌice obligations to us; and regardless of the nationality or citizenship of the (i) give us written notice of your claim within 5 years regulations which apply to exporting or importing (f) in the case of error or dispute and whether during 1 Queen's Road, Central, Hong Kong (ix) we can take any other action we see necessary or purchaser. Christie's is currently required to collect of the date of the auction. We may require full details any lot prior to bidding. If you are refused a licence or or after the auction, to continue the bidding, determine and supporting evidence of any such claim; Bank code: 004 appropriate. sales tax for lots it ships to the following states: New Account No. 062-305438-001 there is a delay in getting one, you must still pay us in the successful bidder, cancel the sale of the lot, (ii) at Christie's option, we may require you to provide (b) If you owe money to us or to another Christie's or reoffer and resell any lot. If any dispute relating York. The applicable sales tax rate will be determined Account Name: Christie's Hong Kong Limited full for the lot. We may be able to help you apply for the written opinions of two recognised experts in Group company, we can use any amount you do the appropriate licences if you ask us to and pay our to bidding arises during or after the auction, the based upon the state, county, or locale to which the SWIFT: HSBCHKHHHKH pay, including any deposit or other part-payment you lot will be shipped. Successful bidders claiming an the field of the lot mutually agreed by you and us in fee for doing so. However, we cannot guarantee that auctioneer's decision in exercise of this option is final. advance confirming that the lot is not authentic. If have made to us, or which we owe you, to pay oÌ any exemption from sales tax must provide appropriate (iii) Credit Card. you will get one. For more information, please contact we have any doubts, we reserve the right to obtain amount you owe to us or another Christie's Group documentation to Christie's prior to the release of the We accept most major credit cards subject to certain Christie's Post-Sale Services Department on +852 4 BIDDING additional opinions at our expense; and company for any transaction. lot. For shipments to those states for which Christie's conditions. We accept payments in person by credit 2760 1766 or email to [email protected]. The auctioneer accepts bids from: (iii) return the lot at your expense to the saleroom from (c) If you make payment in full after the due date, and is not required to collect sales tax, a successful bidder card up to HK$3,000,000 per auction sale although (b) Lots made of protected species (a) bidders in the saleroom; which you bought it in the condition it was in at the we choose to accept such payment we may charge may be required to remit use tax to that state's taxing conditions and restrictions apply. China Union Pay Lots made of or including (regardless of the percentage) (b) telephone bidders, and internet bidders through time of sale. you storage and transport costs from the date that is endangered and other protected species of wildlife are authorities. Christie's recommends you obtain your is accepted with no limits on amounts. To make a 'Christie's LIVE™ (as shown above in Section B6); and (i) Your only right under this 31 calendar days following the auction in accordance marked with the symbol ~ in the catalogue. This material own independent tax advice with further questions. authenticity warranty 'cardholder not present' (CNP) payment, we accept (c) written bids (also known as absentee bids or is to cancel the sale and receive a refund of the with paragraphs Gd(i) and (ii). In such circumstances includes, among other things, ivory, tortoiseshell, crocodile payment up to HK$3,000,000 per auction sale. CNP commission bids) left with us by a bidder before the purchase price paid by you to us. We will not, in any paragraph Gd(iv) shall apply. skin, rhinoceros horn, whalebone certain species of coral, auction. E WARRANTIES payments cannot be accepted by all salerooms and are and rosewood. You should check the relevant customs laws circumstances, be required to pay you more than subject to certain restrictions. Details of the conditions 1 SELLER'S WARRANTIES the nor will we be liable for any loss 5 KEEPING YOUR PROPERTY and regulations before bidding on any lot containing wildlife purchase price and restrictions applicable to credit card payments material if you plan to import the lot into another country. 5 BIDDING ON BEHALF OF THE SELLER For each lot, the seller gives a warranty that the seller: If you owe money to us or to another Christie's Group of profits or business, loss of opportunity or value, are available from our Post-Sale Services Department, Several countries refuse to allow you to import property The auctioneer may, at his or her sole option, bid on (a) is the owner of the lot or a joint owner of the lot company, as well as the rights set out in F4 above, we expected savings or interest, costs, damages, other whose details are set out in paragraph (d) below. containing these materials, and some other countries behalf of the seller up to but not including the amount acting with the permission of the other co-owners or, can use or deal with any of your property we hold or damages or expenses. (iv) Cash require a licence from the relevant regulatory agencies of the reserve either by making consecutive bids if the seller is not the owner or a joint owner of the lot, which is held by another Christie's Group company in (j) Books. Where the lot is a book, we give an We accept cash subject to a maximum of HKD80,000 in the countries of exportation as well as importation. or by making bids in response to other bidders. The has the permission of the owner to sell the lot, or the any way we are allowed to by law. We will only release additional warranty for 14 days from the date of the per buyer per year at our Post-Sale Services Department In some cases, the lot can only be shipped with an auctioneer will not identify these as bids made on right to do so in law; and your property to you after you pay us or the relevant sale that if on collation any lot is defective in text only (subject to conditions). independent scientific confirmation of species and/ behalf of the seller and will not make any bid on behalf (b) has the right to transfer ownership of the lot to Christie's Group company in full for what you owe. or illustration, we will refund your purchase price, (v) Banker's draft or age and you will need to obtain these at your own of the seller at or above the reserve. If lots are oÌered the buyer without any restrictions or claims by anyone However, if we choose, we can also sell your property subject to the following terms: You must make these payable to Christie's Hong Kong cost. If a lot contains elephant ivory, or any other without reserve, the auctioneer will generally decide else. in any way we think appropriate. We will use the (a) This additional warranty does not apply to: Limited and there may be conditions. wildlife material that could be confused with elephant to open the bidding at 50% of the low estimate for If either of the above are incorrect, the proceeds of the sale against any amounts you owe us warranties (i) the absence of blanks, half titles, tissue guards or (vi) Cheque ivory, (for example, mammoth ivory, walrus ivory, the lot. If no bid is made at that level, the auctioneer seller shall not have to pay more than the purchase advertisements, damage in respect of bindings, stains, and we will pay any amount left from that sale to you. may decide to go backwards at his or her sole option You must make cheques payable to Christie's Hong If there is a shortfall, you must pay us any diÌerence helmeted hornbill ivory) please see further important price (as defined in paragraph F1(a) below) paid by you spotting, marginal tears or other defects not aÌecting Kong Limited. Cheques must be from accounts in information in paragraph (c) if you are proposing to until a bid is made, and then continue up from that to us. The seller will not be responsible to you for any between the amount we have received from the sale completeness of the text or illustration; Hong Kong dollar from a Hong Kong bank. import the lot into the USA. We will not be obliged amount. In the event that there are no bids on a lot, reason for loss of profits or business, expected savings, and the amount you owe us. (ii) drawings, autographs, letters or manuscripts, (d) You must quote the sale number, your invoice to cancel your purchase and refund the purchase the auctioneer may deem such lot unsold. loss of opportunity or interest, costs, damages, other signed photographs, music, atlases, maps or number and client number when making a payment. price if your lot may not be exported, imported or it damages or expenses. The seller gives no warranty in periodicals; G COLLECTION AND STORAGE 6 BID INCREMENTS All payments sent by post must be sent to: Christie's, is seized for any reason by a government authority. relation to any lot other than as set out above and, as (iii) books not identified by title; (a) We ask that you collect purchased lots promptly Bidding generally starts below the low estimate and Post-Sale Services Department, 22nd Floor Alexandra It is your responsibility to determine and satisfy the far as the seller is allowed by law, all warranties from (iv) lots sold without a printed estimate; following the auction (but note that you may not increases in steps (bid increments). The auctioneer House, 18 Chater Road, Central, Hong Kong. requirements of any applicable laws or regulations the seller to you, and all other obligations upon the (v) books which are described in the catalogue as sold collect any lot until you have made full and clear will decide at his or her sole option where the bidding (e) For more information please contact our Post-Sale relating to the export or import of property containing seller which may be added to this agreement by law, not subject to return; or payment of all amounts due to us). should start and the bid increments. The usual bid Services Department by phone on +852 2760 1766 or such protected or regulated material. are excluded. (vi) defects stated in any condition report or email to [email protected]. (b) For information on collecting lots, Please contact (c) US import ban on African elephant ivory Christie's Post-Sale Services Department on +852 The USA prohibits the import of ivory from the African

366 367 elephant. Any lot containing elephant ivory or other any reason, we shall not have to pay more than the buyer's premium and do not reflect costs, financing wildlife material that could be easily confused with purchase price paid by you to us. We will not be fees, or application of buyer's or seller's credits. We 業務規定•買方須知 elephant ivory (for example, mammoth ivory, walrus responsible to you for any reason for loss of profits regret that we cannot agree to requests to remove ivory, helmeted hornbill ivory) can only be imported or business, loss of opportunity or value, expected these details from www.christies.com. into the US with results of a rigorous scientific test savings or interest, costs, damages, or expenses. acceptable to Fish & Wildlife, which confirms that K GLOSSARY 業務規定中沒有們的成功拍賣品，者本次出 the material is not African elephant ivory. Where we J OTHER TERMS 7. 珠寶 have conducted such rigorous scientific testing on authentic : a genuine example, rather than a copy or 高於，聯們的+852 2978 9910 至 1 OUR ABILITY TO CANCEL forgery of: 和要知方法之明明士 (a) 有色石石、石石能經處理 a lot prior to sale, we will make this clear in the lot [email protected]。 description. In all other cases, we cannot confirm In addition to the other rights of cancellation (i) the work of a particular artist, author or 載在本中拍賣品的。以觀，包括上等方法。這些方法都被國 whether a lot contains African elephant ivory, and you contained in this agreement, we can cancel a sale manufacturer, if the lot is described in the Heading 和 / 在中表示同受這些際行，是經處理的石的能 3. 如果您未能提供正確的文件 will buy that lot at your own risk and be responsible of a lot if we reasonably believe that completing the as the work of that artist, author or manufacturer; for any scientific test or other reports required transaction is, or may be, unlawful or that the sale (ii) a work created within a particular period or ，因此，在之前細這些。下體 / 在日後要的保。們為，能滿們對者身手的 places us or the seller under any liability to anyone culture, if the lot is described in the Heading as a for import into the USA at your own cost. If such 體的在表明。 (b) 所有型的石能經些處理。拍要，包括不於完成滿本公能要行的所有 scientific test is inconclusive or confirms the material else or may damage our reputation. work created during that period or culture; is from the African elephant, we will not be obliged to (iii) a work for a particular origin source if the lot is 賣品沒有，以在日之前至少前三向黑和 / 主義，們能不許 cancel your purchase and refund the purchase price. 2 RECORDINGS described in the Heading as being of that origin or 士擁有拍賣品所有以 D 示，士為方們要石，的用由。，而成功拍賣品，們能與 (d) Lots of Iranian origin We may videotape and record proceedings at any source; or 的理人。 (c) 們不為的石。們有方之間的合。士有方面所的身明 Some countries prohibit or restrict the purchase and/ auction. We will keep any personal information (iv) in the case of gems, a work which is made of 國際的石驗，們在 , 作為滿們對者身手的要。 or import of Iranian-origin "works of conventional confidential, except to the extent disclosure is required a particular material, if the lot is described in the A. 拍賣之前 craftsmanship" (works that are not by a recognized by law. However, we may, through this process, use Heading as being made of that material. 中。國石驗發出的描 artist and/or that have a function, for example: or share these recordings with another Christie's authenticity warranty : the guarantee we give in this 1. 拍賣品描述 4. 代表他人競投對石的處理。石驗的僅 carpets, bowls, ewers, tiles, ornamental boxes). Group company and marketing partners to analyse agreement that a lot is authentic as set out in section (a) 描用的些有義。情見構 (a) 作為授權競投人 : 表他人，在前， For example, the USA prohibits the import of this our customers and to help us to tailor our services for E2 of this agreement. 在們要的時，對石的處理，成的要知方法之明。對 type of property and its purchase by US persons buyers. If you do not want to be videotaped, you may 人要完成以上的手的， buyer's premium : the charge the buyer pays us 是該該石沒有被處理。因各驗 (wherever located). Other countries, such as Canada, make arrangements to make a telephone or written along with the hammer price. 內的的，見本內 " 本中用的各表其。 only permit the import of this property in certain bid or bid on Christie's LIVE™ instead. Unless we catalogue description : the description of a lot in 用方法和技術的，對石是處理、處理的 circumstances. As a convenience to buyers, Christie's "。 (b) 作為隱名委托人的代理人 : 以理人身為名 agree otherwise in writing, you may not videotape or the catalogue for the auction, as amended by any 程處理是為性，都能不同見。石 indicates under the title of a lot if the lot originates record proceedings at any auction. saleroom notice. (b) 本公在本中對拍賣品的描，拍賣品狀况人最終的方行，同購買款 from Iran (Persia). It is your responsibility to ensure 驗僅對作出日之前驗所知的處 Christie's Group : Christie's International Plc, its 其不是頭還是面，包括拍賣品性項和所有其他的個人。，保 : you do not bid on or import a lot in contravention of 3 COPYRIGHT subsidiaries and other companies within its corporate 理行。狀况、術家、時期、、來源 (i) 經根據所有用的黑法對的最 the sanctions or trade embargoes that apply to you. We own the copyright in all images, illustrations and group. 拍賣品 (e) Gold (d) 對於來，估價是以石中的息為 written material produced by or for us relating to a condition : the physical condition of a lot. 們見之表，而不被作為事之。們不終的方行要的盡，同們依該盡 Gold of less than 18ct does not qualify in all countries lot (including the contents of our catalogues unless due date : has the meaning given to it paragraph ，沒有，就為石能經被處理 as 'gold' and may be refused import into those 的歷家者那行入的。所有的。，將在不少於 5 年的期間保明盡 otherwise noted in the catalogue). You cannot use F1(a). countries as 'gold'. 。 them without our prior written permission. We do not estimate : the price range included in the catalogue 僅為計。的和。 (f) Watches oÌer any guarantee that you will gain any copyright or Many of the watches oÌered for sale in this catalogue or any saleroom notice within which we believe a lot 8. 鐘錶 (ii) 在到們面要後以將明盡的和 other reproduction rights to the lot. may sell. Low estimate means the lower figure in the 2. 對於拍賣品描述佳士得所負的責任 are pictured with straps made of endangered or (a) 幾乎所有的在用期內都被理，能都有第三方計人時。們不 protected animal materials such as alligator or range and high estimate means the higher figure. 們不對拍賣品的性保，了下第 E2 的 4 ENFORCING THIS AGREEMENT 。們不能保證的個向第三方上和， (1) 經在公 crocodile. These lots are marked with the symbol ψ The mid estimate is the midpoint between the two. 真品保證以第 I 另有。 in the catalogue. These endangered species straps If a court finds that any part of this agreement is not hammer price : the amount of the highest bid the 都是。被為 " 聯 " 的帶不是的領在，(2) 根據法要被，(3) 合 are shown for display purposes only and are not for valid or is illegal or impossible to enforce, that part of auctioneer accepts for the sale of a lot. 3. 狀况，能不是真品。的能沒有擺、黑法。 sale. Christie's will remove and retain the strap prior the agreement will be treated as being deleted and Heading : has the meaning given to it in paragraph (a) 在們上的拍賣品狀况因年、前 to shipment from the sale site. At some sale sites, the rest of this agreement will not be aÌected. E2. 出。 (iii) 和最終的方之間的安不是為了於。 lot : an item to be oÌered at auction (or two or more 、、理等因而大。其性 Christie's may, at its discretion, make the displayed (b) 藏家等的經常有常精細的構， (iv) 不知沒有理由用於結的和 5 TRANSFERRING YOUR RIGHTS AND items to be oÌered at auction as a group). endangered species strap available to the buyer of the 著幾乎不能處於完的狀况。拍賣品是照其在 lot free of charge if collected in person from the sale RESPONSIBILITIES other damages : any special, consequential, 能要一保服、更一的理作，入有最終的方因黑，動其他於之時的情以 " 現 " 出，而不包括士 site within 1 year of the date of the sale. Please check You may not grant a security over or transfer your incidental or indirect damages of any kind or any 而這些都由方。們不保證一隻都是在黑的而被，被起被。 with the department for details on a particular lot. rights or responsibilities under these terms on the damages which fall within the meaning of 'special', 方的保對於狀况的的 contract of sale with the buyer unless we have given 'incidental' or 'consequential' under local law. 作。中有，們不。人和士在始前面同人僅作。 For all symbols and other markings referred to in our written permission. This agreement will be purchase price : has the meaning given to it in (c) 大多的都被打的型。因為這為士的第三方的理與士 paragraph H2, please note that lots are marked as a binding on your successors or estate and anyone who paragraph F1(a). (b) 在本狀况中不等同於對狀况的個因，帶有水殼的能不能水，在用之前只向該第三方，人同就購 convenience to you, but we do not accept liability for takes over your rights and responsibilities. provenance : the ownership history of a lot. 完描，圖能不示出拍賣品。拍賣品的 errors or for failing to mark lots. qualified : has the meaning given to it in paragraph 們讓師事驗。買款項和所有其他上個人法。 6 TRANSLATIONS E2 and Qualified Headings means the section 色和明暗在印刷品上起來能與體手帶的方面的要息，見第 If we have provided a translation of this agreement, headed Qualified Headings on the page of the 5. 親自出席競投 I OUR LIABILITY TO YOU 時的情不同。狀况拍賣品的狀 H2(f) 。 we will use the English version in deciding any issues catalogue headed 'Important Notices and Explanation 在現場，在行前至少 30 (a) We give no warranty in relation to any statement or disputes which arise under this agreement. of Cataloguing Practice'. 况。為方方，狀况為，僅作為。理手，。，聯 made, or information given, by us or our representatives reserve : the confidential amount below which we will 狀况了們的見，是能出所有的 B. 登記競投 or employees, about any lot other than as set out in the 7 PERSONAL INFORMATION 服+852 2760 1766。 not sell a lot. 、內在、、更，因為們的不 1. 新競投人 authenticity warranty and, as far as we are allowed We will hold and process your personal information saleroom notice : a written notice posted next to the by law, all warranties and other terms which may be (a) 這是第一次在士，者與們的 and may pass it to another Christie's Group company lot in the saleroom and on www.christies.com, which 是護人。出於這個因，他們不能 6. 競投服務 added to this agreement by law are excluded. The for use as described in, and in line with, our privacy is also read to prospective telephone bidders and 自品自己的見。方有，在兩年內士場成功 seller's warranties contained in paragraph E1 are policy at www.christies.com. notified to clients who have left commission bids, or 下的服是為方而設，在該服出現，在之前至少 48 個時， their own and we do not have any liability to you in an announcement made by the auctioneer either 保自己經要、了狀况人為其，故，士不上 relation to those warranties. 8 WAIVER at the beginning of the sale, or before a particular 。以們的時間來處理的。們有 (b) (i) We are not responsible to you for any reason 。 No failure or delay to exercise any right or remedy lot is auctioned. 方面不許成為人。以下 (whether for breaking this agreement or any other provided under these Conditions of Sale shall 4. 拍賣之前檢查拍賣品 (A) 電話競投 matter relating to your purchase of, or bid for, any UPPER CASE type : means having all capital (i) 個人帶有照的身明照照、國身 constitute a waiver of that or any other right or letters. (a) 計劃一拍賣品，自有知在始前至少 24 時理。士 lot) other than in the event of fraud or fraudulent remedy, nor shall it prevent or restrict the further 護照身上沒有顯示現時 misrepresentation by us or other than as expressly set exercise of that or any other right or remedy. No warranty : a statement or representation in 之表，以保受拍賣品描狀况。們只在能安人的情下受 which the person making it guarantees that the ) 現時明， : 用事行月結 out in these conditions of sale; and single or partial exercise of such right or remedy shall 人其那見。。於 30,000 元之拍賣品將不受。 (ii) We do not give any representation, warranty prevent or restrict the further exercise of that or any facts set out in it are correct. 。 or guarantee or assume any liability of any kind in (b) 之前的向公放。在之前的要以英的其他行，在之前 other right or remedy. (ii) 公顯示名稱地的公明 respect of any lot with regard to merchantability, 9 LAW AND DISPUTES ，們的家在場題。安。將被。以表同其 fitness for a particular purpose, description, size, The rights and obligations of the parties with respect ，公地明，被者有對被。同受。 quality, condition, attribution, authenticity, rarity, 5. 估價 to these Conditions of Sale, the conduct of the auction 的身，由法表人有公章 (B) 在 Christie's LIVE™ 網絡競投 importance, medium, provenance, exhibition history, and any matters connected with any of the foregoing 估價是於拍賣品的狀况、有程、、來源物有的，以出所有事和受 literature, or historical relevance. Except as required shall be governed and interpreted by the Hong Kong 在些，們受。入 www.christies. 品的期。估價能。其他人在 by local law, any warranty of any kind is excluded by laws. By bidding at auction, whether present in person 的明。 com/livebidding，擊 " 現場 " 圖， this paragraph. or by agent, by written bid, telephone or other means, 情下都不能依估價，將其作為拍賣品的際的 (iii) 、合、公其結構，前聯觀與。受 (c) In particular, please be aware that our written the buyer shall be deemed to have accepted these 保。估價不包括買方酬金用的。估價 and telephone bidding services, Christie's LIVE™, Conditions and submitted, for the benefit of Christie's, 們商要。 Christie's Live™ 用的，情見 www.christies. condition reports, currency converter and saleroom to the exclusive jurisdiction of the Hong Kong courts, 能以場當地以的顯示僅作。本 (b) 們能要向們明 / 作 com 。 video screens are free services and we are not and also accepted that Christie's also has the right to 用的是根據最印時的設，為許的。，聯們的 responsible to you for any error (human or otherwise), pursue remedies in any other jurisdiction in order to omission, breakdown, or delay, unavailability, recover any outstanding sums due from the buyer. 所以能與當日有。服+852 2760 1766。 suspension or termination of any of these services. 6. 撤回 (C) 書面競投 (d) We have no responsibility to any person other 10 REPORTING ON WWW.CHRISTIES.COM 2. 再次參與競投的客人士有方面在拍賣品程中之前的於本，士公 www.christies.com than a buyer in connection with the purchase of any Details of all lots sold by us, including catalogue 們要以上 B1(a) 所的現時身明， lot. descriptions and prices, may be reported on www. 時間將拍賣品。士無就向拍賣品面表。在 (e) If, in spite of the terms in paragraphs (a) to (d) 明 / 作為許的。兩年 christies.com. Sales totals are hammer price plus 。始前至少 24 時經的面表。是 or E2(i) above, we are found to be liable to you for

368 369 以當地的為。將在底價後，合理後們以 / 子方發發，們士為拍賣品能是術家的作品，是士 (ii) 買方酬金；和 (i) 自到期付款日起，照，高於 H. 運送地行面以能的最行面。以不知下是成功。以面，不保證該作品一是該術家的作品。在前， (iii) 、有物、、用、服。理局不時公布的三個月行同息 7% 的 1. 運送面一沒有底價的拍賣品，而沒有其他更高，後以聯們臨本公結，以 " 有保留標題 " 表拍賣品的目錄描述。所有於後 7 個日天內" 到期付款息；表與發一同發。自行安拍賣們為以低端估價的 50% 行；的面生不要的用。 (d) 真品保證用於被拍賣會通告後的標題。日"。 (ii) 照們為合的對拍賣品公品的和事。們也以依照的要安包比上更，則以的面的行。士 (e) 真品保證不用於在之後，術發被 (b) 們只受人。發一，發上下。向們來 9. 競投地法律事，有。們在前到多個等的面，而在時此等受的者家見有所。此保不用於在方的名不能更，們不能以不同名發的購買款項與次之間的。當在們的中時，同所有在有的，其是要包的大物品該品之最高出，則該拍賣品最達其面日時，標題乎合被受的者家的見，。將拍賣品出要出許，也也們能受的一成本、時生用於場所的當地法法。高品。要，們也處理、包、公本公之人。標題出見的地方。以上。用、失、，法用方的；有家。 D. 買方酬金及稅款 (f) 拍賣品只有方法能出不是真 (c) 在士的拍賣品，照發上顯示的 (iii) 不行的方方的。情聯士後服，+852 2760 1766； C. 拍賣之時 1. 買方酬金品，而在們出版之日，該方法還在以下方士有方之所有向出；發至 [email protected]。們合理處 1. 進入拍賣現場成功人成交價，同本公以該拍賣品被，不際，者能拍 (i) 士 "MyChristie's" 上為人 (iv) 之購買款項，們就此理、包、拍賣品。們就上的向其們有不許人士入場地，與，成交價計的買方酬金。拍賣品成交價賣品，則真品保證不用。發、服。 ( 而向出法程在法許下向他公，們不有公之行為，的絕受。 2,000,000 元之 25%； 2,000,000 元以上至 (g) 真品保證僅用於拍賣品在時由士發出之發還註上， www.christies.com/ 之其他失、息、法用其他用；。 2. 底價 30,000,000 元之 20%； 30,000,000 元以之本方，僅在知出之日本方是 MyChristies 行註 )。本服用於大多 (v) 將們佳士得集團公下之包括 2. 出口 / 進口另明，所有拍賣品有底價。不有底價的拍賣品，上之 12.5% 計。品的一所有人，拍賣品不受其他、主張品，有少品的和安不能們之保用以抵出的拍賣品都能受拍賣品出國家的出法在拍賣品用 • 。底價不高於拍賣品的低端其他的。此品保中的不以上行。，與後服聯。之； 2. 稅費其他國家的法。許多國家就拍賣品出境要出估價。讓。 (ii) 至 (vi) 們以將的身聯方方；成功者將所有用拍賣品，包括，明 / 就拍賣品入境要明。國當地法 (h) 要下的，上海行行 (vii) 在將來中，不許的表作出，用者所有於成交價和買方酬金而生的該真品保證 3. 拍賣官之酌情權中皇大中 1 在受之前向保；能些品拍賣品在國出。等。方有明所有。在情 (i) 在日後 5 年內，向們面的知。以情行 : 004 (viii) 在拍賣品所處地方之法許之下，士就擁們不因所的拍賣品無法出，出於下法用。士見。們以要上完的細節佐 (a) 絕受； 062-305438-001 因遭構沒而有的向退購買款據；有由士有的拍賣品作為抵品以抵品有士至國的拍賣品，不方國公身 (b) 以其方將前後，拍賣品的順；名Christie's Hong Kong Limited 有人身行最高程之救方法，不項。滿法法對出，能，和而生的州 (ii) 士有要為士事同的 (c) 拍賣品；基於成交價買方酬金行HSBCHKHHHKH 是以當方、抵方其他。則被的拍賣品的要在此拍賣品領被的兩家的面見， (d) 將拍賣品將兩多拍賣品合用。士現時就其至州的 (iii) 用為與本公該等抵本公保 (a) 在前，見滿法法該拍賣品不是真品。們有，們；品。用由品將到的州，縣，在合們的下，們受各種主要用此物品作為方對本公方的抵；對出拍賣品的要。被發許，保自己用更多見的； (e) ，經下；地而。要的成功人在拍。本公次受不超 3,000,000 和許，全拍賣品的。 (iii) 自與時狀況同的拍賣品士 (f) 有出爭，無是在時後，賣品之前向士當。士不的州元之現場用，有用。以 (ix) 採們為要當的行動。出，在們能許內，們以場。、是成功人、拍賣品的將，成功人能該州的構。士中國聯方沒有。要以 " 人不 (b) 將的，包括保其他們所許，們就此服向用。 (i) 在本真品保證下一的就是該拍賣品出。在之時後對有見。在場 "(CNP) 的方，本公次受下之用以抵們其他佳士得集團公的們不保能許。了情，聯的購買款項。在情下們不超爭，有最終。不超 3,000,000 元之。CNP 不用。士後服，+852 2760 1766，發到 E. 保證向們的購買款項的，同時們也無對 [email protected]。於所有士場，受些。用於用 (c) 在到期付款日之後全，同時，們 4. 競投 1. 賣方保證經失、商失、期息、的和士的後服，受該，們以自後第 31 日起根據 G(d)(i) (ii) (b) 含有受保護動植物料的拍賣品受以下對於拍賣品，方保證其成本、其他賠償出。情於以下 (d) 向和用。在此情下，G(d)(iv) 將用。由臨絕種其他受保護生動物成不 (a) 場與的人； (a) 為拍賣品的所有人，拍賣品的有人之一其他 (j) 書籍。拍賣品為，們自日起為 (iv) 現比的拍賣品在本中註有～。 (b) 人， Christie's LIVE™第 B6 所有人的許 ; 者，方不是拍賣品的所有人期 14 天的保證，經對後，品的本圖有 5. 扣押拍賣品本公年只受方不超 80,000 這些物包括不於、殼、鱷魚、角、示的人；有人之一，其所有人的出品其在，在以下的下，們將退的購買款們其他佳士得集團公，了以上 F4 的元之現受有；鯨、些品種。有將有生動 (c) 之前士的面也稱為不在場法上有這；項，在法許下，們以以方用處 (v) 行物物的拍賣品至其他國家，於該拍。 (b) 有將拍賣品的所有讓方，該不 (a) 此保證不用於於們其佳士得集團公的拍賣品。只有在全頭明士有公受有賣品之前了有海法和。有些國家完全其他人之。 (i) 少空白、、保護、、下們佳士得集團公的全後，方領 5. 代表賣方競投；有這物的物品，而其他國家則向出以上保證不，方不超向的、、磨其不本有拍賣品。們將的拍賣品照們為當方的方以其他 (vi) 入國家的有理構許。在有些情下，們的購買款項見以下第 F1(a) 義的。圖完性的；的方出。們將用出拍賣品的所來抵下者的而的方，至達到以下。不頭明士有公。於拍賣品有的物種的明和 / 年期明，方不就下上經的失、期、商 (ii) 繪圖、名、手；帶有名的照、們的，餘。所不明此表方的。不表方作出等行以。方能，而要自行安上明有失息的失、成本、、其他賠償出、地圖、地圖期；以抵，。的用。一有其他能和於高於底價之出。就不設底價的品，常 (d) 時明、發；以拍賣品。方不就拍賣品以上之的 (iii) 沒有題的；的生動物獁，海和鳥以低端估價的 50% 始。在此沒有人，方發到士有公，後服保證；只要法許，所有方對出的保證法 (iv) 沒有明估價的出拍賣品； G. 提取及倉儲計劃將上到國，c 以自行將下，至有人，地中打 18 歷大 22 。拍賣品要入本的所有其方被。 (v) 中表明出後不退的； (a) 們要在之後的拍賣品（但請注中之要息。無法出，該拍賣品因然後該向上。無人該拍賣品， (e) 要更多息，聯後服。 +852 (vi) 狀况報告中時公的。意，在全數付清所有款項之前，您不可以提取拍賣品）。因拍賣品被，們沒有義因此該拍賣品為流拍賣品。 2. 真品保證 2760 1766；發至 [email protected]。 (b) 要根據本，在後的 14 天 (b) 有拍賣品之情，聯後服。 +852 在不抵以下的情下，本公保們的拍賣品的退的購買款項。滿內就有面知，與時狀況 2. 所有權轉移 2760 1766 發至 : [email protected] 6. 競投價遞增幅度都是真品們的 " 品保 "。在日後的五年有有上物拍賣品出的法和要。同的拍賣品當時行的士行。只有們自處到全購買款項後，擁有拍賣 (c) 在完的拍賣品，們有常於低端估計始，然後逐內，知們的拍賣品不是真品，在合以下 (c) 美國關於非洲象象牙的進口禁令 (k) 現當術以中國畫。品拍賣品的所有，本公將拍賣品。將拍賣品到其他士所在處其聯公第三方幅。自行始幅。本之下，們將把的購買款項退還。國國。一拍賣品有品保不用於此拍賣品。前術不許對此。內的面表上顯示的是一幅，僅下的表有對 " 真品 " 一出。真品保證其他能和的生獁，作出之明，士同被為贗品之 (d) 在後第三個日日之前的拍。下 3. 風險轉移海和鳥，其受國和生現當術以中國畫拍賣品之。之拍賣品的風和自以下日期起將以者為賣品，另有面 : 動物保護局的試該物 7. 貨幣兌換 (a) 們對在日後 5 年內的知真品保則根據士真品保證的退還本方，準 (i) 們將自後第 31 日起向用。後方國。們在前對拍賣品經的顯示板，Christie's Live ™ 和士能以證。此期後，們不真品保證。方在日起 12 個月內以面知本公有拍賣品為 (a) 方日； (ii) 們有將拍賣品到聯公第三方，向行了該試，們在拍賣品中表明。場當地的主要來示。士用的 (b) 們只對本目錄描述第一行" 標題 "以大階字體贗品能以上 E2(h)(ii) 的士滿的據， (b) 自日起 30 日後，，則拍賣品由第三方保因此生的用和處理用。們一無法拍賣品的是來自。僅作，士不受其。對於在該服明的作出品保。了標題中顯示的，們該拍賣品為贗品，照以上 E2(h)(iii) 拍賣之日起；另行。 (iii) 們以們為商上合理當的方出拍賣有拍賣品計畫將有拍賣品國，出現的人為其，故，士不不對題以的 ( 包括標題以的大階字體品們。E2(b), (c), (d), (e), (f), (g)和(i) 用於此之。品。風試其他的用。有。明作出保。 4. 不付款之補救辦法 (iv) 的用，見 www.christies.com/ 試無物，不被為 8. 成功競投 (c) 真品保證不用有保留標題有保留的標題。有保 F. 付款 (a) 到期付款日，能全購買款項，們將有 storage。和退購買款項的依據。用以上 C3 中的情，下留是受於拍賣品目錄描述內的，者標題中有 1. 付款方式行以下一多行們在 F5 的以 (v) 本的內不們在 F4 下的。表示對最終之受。這表方和成功人之間的 " 要方法之明 " 內有保留標題的些 (a) 後，以下購買款項法們的其救法 (d) 源自伊朗的拍賣品合之。們僅向的成功人發。。標題中對 " 為是之作品 " 的用 (i) 成交價；和

370 371 一些國家和 / 源自伊的 " 傳服。不被，面者在估價中場中明的們為品能出 SYMBOLS USED IN THIS CATALOGUE 作品 "身不明的術家作品 / 功能性作 Christie's LIVE™ 。另有面，不能在現的。低端估價該的最；高端估價品。地、、大水、和。場。該的最高。中間估值為兩者的中間。國以上物品國不所在處 3. 版權成交價受的拍賣品最高。以上物品。有些國家，大則許在情所有由士為士與拍賣品有之作之一圖、標題 E2 所出的。 The meaning of words coloured in bold in this section can be found at the end of the section of the catalogue headed 'Conditions of Sale • Buying at Christie's' 下以上物品。為方方，士在源自伊插圖與面有，包括們的的內拍賣品的一拍賣品作為一的兩更期的拍賣品下方明。受以上之版於士所有。沒有們的事面許不多的物； º help of someone else. See Important Notices and Ψ Christie's has a direct financial interest in the lot. See Explanation of Cataloguing Practice. Lots incorporates material from endangered species ，保不有拍賣用以上版作品。們沒有保就的拍賣品其他賠償、帶、帶間的合 Important Notices and Explanation of Cataloguing that is not for sale and is shown for display purposes 品，有用。版其他的。當地法的 " "、" 帶 " " 帶 " 。 Practice. • only. (e) 黃金購買款項第 F1(a) 的。 Lot oÌered without reserve which will be sold to the 4. 效力 D highest bidder regardless of the pre-sale estimate in Please note that lots are marked as a convenience 來源品的所有歷。於 18k 的不是在所有國家被為本的遭法為無、不合法無法 Owned by Christie's or another Christie's Group the catalogue. to you and we shall not be liable for any errors in, or E2 中的；有則中 " 要，能被絕入。行，則該被為，其不受。有保留保留標題 company in whole or part. See Important Notices and failure to, mark a lot. (f) 鐘錶知和明 " 中的 " 有保留標題 " 的。 Explanation of Cataloguing Practice. 5. 轉讓您的權利及責任 ~ 本內有些帶的照顯示該手有受保護底價拍賣品不以於此保底價出。們面許，則不就在本下的 Christie's has a direct financial interest in the lot Lot incorporates material from endangered species 動物鱷鱷魚的物所成的帶。這些拍賣場通告張於場內的拍賣品 www.christies. which could result in export restrictions. See Section 設抵，不讓的和。本 and has funded all or part of our interest with the 品在本內的拍賣品以顯示。這些 com 的面知上知內另行知以面 H2(b) of the Conditions of Sale• Buying at Christie's. 對的人、下的人有。帶只用來示拍賣品不作用。在手到的，行前拍賣品前布地以的地前，士把上帶以保 6. 翻譯的公。。方在後一年內身到所在地的士們了本的，們將用英版用於大階字體包所有的大。，士情該示用有受本下生的題以爭。保證人明人保其所明的事為。本目錄中使用的各類標識保護動物物的帶方。 7. 個人信息 H2 中的是士為了方下而在有拍賣品同們將有處理的個人據息，將其的，時有，士不其佳士得集團公用於們的策所描的，與其本體體的義載於本中題為 " 方知 " 一章的最後一。。的的。以在 www.christies.com 上到本公策。 º Ψ I. 佳士得之法律責任 8. 棄權士對該拍賣品擁有經。拍賣品有物種的，只用作用， (a) 了真品保證，士、士理人，對 • 能行本下的不被為要知方法之明。不。拍賣品作，的，不作出保證。不設底價的拍賣品，不其在本中的前該，也不對該其他在法許的最大程下，所有由法的保其，該拍賣品將出最高的人。的行。行該不 D 對藏品的僅為方，本公不他，被在本。在 E1 中的方保是對其的行。全由士其他佳士得集團公因示的。由方的保，們對這些保證不有。 9. 法律及管轄權 (b) (i) 們以手作出有成的失在有。要知方法之明。～各方的義，就有本，的行為本中另有明明，們不因因對拍賣品有物種的，能受出。與上的事，受法根據法有無是因本，拍賣品與士對該拍賣品擁有經，士的方知第 H2(b) 。的其事；和。在時，無是自出由理人出，全第三方。要面、其他方法，方則被為受本， (ii) 本公無就拍賣品的商品、是合知方法之明。為士之而，受法之他性，用、描、、、狀況、作品歸、性、同時士有在其他法出，以有程、要性、、來源、歷、出版歷方的。的聯等作出、保保。當地的法強要，種之保，被 10. www.christies.com 的報告本在。出的品的所有，包括描都在 (c) 士所的面服、 www.christies.com 上。為成上方 Christie's LIVE™、狀况、顯示板，其不成本、用方方情。為服，有人為其們不能要將這些 www.christies.com 上删因、故、能、終，本。公不。 (d) 就品的事，們僅對方有法。 K. 詞匯表 IMPORTANT NOTICES AND EXPLANATION OF CATALOGUING PRACTICE (e) 有 (a) 至 (d) E2(i) 的，們因些品以下所的作品，而不是品贗品因對上法，們不超的 a) 拍賣品在標題被描為術家、作者作者 IMPORTANT NOTICES significant, if the lot fails to sell. Christie's therefore avoidance of any doubt, if you are advised by or 的作品，則為該術家、作者者的作品；購買款項。士不就經失、商 sometimes chooses to share that risk with a third bidding through an agent on a lot identified as being 失、期息、用、出等因 b) 拍賣品在標題被描為是時期流派創作的作 CHRISTIE'S INTEREST IN PROPERTY party. In such cases the third party agrees prior to subject to a third party guarantee you should always 上。品，則該時期流派的作品； CONSIGNED FOR AUCTION the auction to place an irrevocable written bid on the ask your agent to confirm whether or not he or she lot. The third party is therefore committed to bidding has a financial interest in relation to the lot. c) 拍賣品在標題被描為來源，則為該來源的作品； D: Property Owned in part or in full by Christie's on the lot and, even if there are no other bids, buying J. 其它條款 d) 以石為，拍賣品在標題被描為由種 the lot at the level of the written bid unless there are Other Arrangements From time to time, Christie's may oÌer a lot which it any higher bids. In doing so, the third party takes Christie's may enter into other arrangements not 成，則該作品是由該成。 1. 我們的撤銷權 owns in whole or in part. Such property is identified on all or part of the risk of the lot not being sold. If involving bids. These include arrangements where 了本中的其他，們合理地為完成真品保證們在本 E 所為拍賣品的保。 in the catalogue with the symbol D next to its lot the lot is not sold, the third party may incur a loss. Christie's has given the Seller an Advance on the 買方酬金了成交價，方們的用。 number. Lots which are subject to a third party guarantee proceeds of sale of the lot or where Christie's has 能是法行為該們方向人上法 arrangement are identified in the catalogue with the shared the risk of a guarantee with a partner without 們的名，們該拍賣品的。目錄描述內對拍賣品的包括於場 º Minimum Price Guarantees: symbol º♦. the partner being required to place an irrevocable 對有作出的更。 On occasion, Christie's has a direct financial interest written bid or otherwise participating in the bidding 2. 錄像 in the outcome of the sale of certain lots consigned Christie's compensates the third party in exchange on the lot. Because such arrangements are unrelated 佳士得集團Christie's International Plc、其子公的們以程。法要，們對 for sale. This will usually be where it has guaranteed for accepting this risk provided that the third party is to the bidding process they are not marked with a 其公。 to the Seller that whatever the outcome of the not the successful bidder. The remuneration to the symbol in the catalogue. 個人息以保。該能用於其他佳士得集團狀况拍賣品的物理狀况。 auction, the Seller will receive a minimum sale price third party may either be based on a fixed fee or an 公和場以作以們向方合的 for the work. This is known as a minimum price amount calculated against the final hammer price. Bidding by parties with an interest 到期付款日第 F1(a) 所出的。 guarantee. Where Christie's holds such financial The third party may also bid for the lot above the In any case where a party has a financial interest in a interest we identify such lots with the symbol º next written bid. Where the third party is the successful lot and intends to bid on it we will make a saleroom to the lot number. bidder, the third party is required to pay the hammer announcement to ensure that all bidders are aware price and the buyer's premium in full. of this. Such financial interests can include where º♦ Third Party Guarantees/Irrevocable bids Third party guarantors are required by us to disclose beneficiaries of an Estate have reserved the right Where Christie's has provided a Minimum Price to anyone they are advising their financial interest to bid on a lot consigned by the Estate or where a Guarantee it is at risk of making a loss, which can be in any lots they are guaranteeing. However, for the partner in a risk-sharing arrangement has reserved

372 373 the right to bid on a lot and/or notified us of their Qualified Headings In Christie's qualified opinion the signature/ intention to bid. In Christie's opinion a work by the artist. date/inscription appears to be by a hand other than WORLDWIDE SALEROOMS, OFFICES AND SERVICES *"Attributed to …" that of the artist. Please see http://www.christies.com/ financial- In Christie's qualified opinion probably a work by the The date given for Old Master, Modern and interest/ for a more detailed explanation of artist in whole or in part. Contemporary Prints is the date (or approximate minimum price guarantees and third party financing *"Studio of …"/ "Workshop of …" date when prefixed with 'circa') on which the matrix arrangements. In Christie's qualified opinion a work executed in the was worked and not necessarily the date when the ARGENTINA RHÔNE ALPES MALAYSIA SWITZERLAND AUCTION AND OTHER SERVICES studio or workshop of the artist, possibly under his impression was printed or published. BUENOS AIRES +33 (0)6 61 81 82 53 KUALA LUMPUR •GENEVA PRIVATE SALES +54 11 43 93 42 22 Dominique Pierron +65 6735 1766 +41 (0)22 319 1766 HK: +852 2978 6871 Where Christie's has an ownership or financial supervision. *This term and its definition in this Explanation of Cristina Carlisle (Consultant) Jane Ngiam Eveline de Proyart Fax: +852 2760 1767 interest in every lot in the catalogue, Christie's will *"Circle of …" Cataloguing Practice are a qualified statement as Email: [email protected] not designate each lot with a symbol, but will state In Christie's qualified opinion a work of the period of to authorship. While the use of this term is based AUSTRALIA GERMANY MEXICO •ZURICH SYDNEY DÜSSELDORF MEXICO CITY +41 (0)44 268 1010 CHRISTIE'S EDUCATION its interest in the front of the catalogue. the artist and showing his influence. upon careful study and represents the opinion of *"Follower of …" specialists, Christie's and the consignor assume no +61 (0)2 9326 1422 +49 21 14 91 59 352 +52 55 5281 5446 Jutta Nixdorf NEW YORK Ronan Sulich Arno Verkade Gabriela Lobo In Christie's qualified opinion a work executed in the risk, liability and responsibility for the authenticity TAIWAN Tel: +1 212 355 1501 FOR PICTURES, DRAWINGS, PRINTS AND Fax: +1 212 355 7370 MINIATURES, SCULPTURES, INSTALLATION, artist's style but not necessarily by a pupil. of authorship of any lot in this catalogue described AUSTRIA FRANKFURT MONACO TAIPEI +49 (0)170 840 7950 +377 97 97 11 00 +886 2 2736 3356 Email: [email protected] VIDEO, CALLIGRAPHY AND PAINTED CERAMIC *"Manner of …" by this term, and the Authenticity Warranty shall not VIENNA In Christie's qualified opinion a work executed in the be available with respect to lots described using this +43 (0)1 533 881214 Natalie Radziwill Nancy Dotta Ada Ong HONG KONG Angela Baillou Tel: +852 2978 6768 Terms used in this catalogue have the meanings artist's style but of a later date. term. HAMBURG THE NETHERLANDS THAILAND *"After …" BELGIUM +49 (0)40 27 94 073 •AMSTERDAM BANGKOK Fax: +852 2525 3856 ascribed to them below. Please note that all Email: [email protected] statements in this catalogue as to authorship are In Christie's qualified opinion a copy (of any date) of a BRUSSELS Christiane Gräfin +31 (0)20 57 55 255 +66 (0)2 252 3685 +32 (0)2 512 88 30 zu Rantzau Arno Verkade Prapavadee made subject to the provisions of the Conditions work of the artist. LONDON Roland de Lathuy Sophonpanich Tel: +44 (0)20 7665 4350 of Sale and authenticity warranty. Buyers are *"Signed …"/ "Dated …"/ "Inscribed …" MUNICH NORWAY In Christie's qualified opinion the work has been BRAZIL +49 (0)89 24 20 96 80 OSLO TURKEY Fax: +44 (0)20 7665 4351 advised to inspect the property themselves. Written Email: [email protected] condition reports are usually available on request. signed/dated/inscribed by the artist. SÃO PAULO Marie Christine Gräfin +47 949 89 294 ISTANBUL *"With signature …"/ "With date …"/ "With inscription +55 21 3500 8944 Huyn Cornelia Svedman +90 (532) 558 7514 CHRISTIE'S INTERNATIONAL REAL ESTATE Nathalie Lenci (Consultant) Eda Kehale Argün …" STUTTGART NEW YORK (Independant (Consultant) Tel: +1 212 468 7182 Consultant) +49 (0)71 12 26 96 99 PEOPLE'S REPUBLIC Eva Susanne OF CHINA UNITED ARAB Fax: +1 212 468 7141 CANADA Schweizer BEIJING EMIRATES Email: [email protected] TORONTO +86 (0)10 8583 1766 •DUBAI LONDON +1 647 519 0957 INDIA +971 (0)4 425 5647 •MUMBAI •HONG KONG Tel: +44 (0)20 7389 2551 Brett Sherlock Fax: +44 (0)20 7389 2168 (Consultant) +91 (22) 2280 7905 +852 2760 1766 UNITED KINGDOM Sonal Singh • LONDON Email: [email protected] •SHANGHAI CHILE +44 (0)20 7839 9060 HONG KONG 重要通知及目錄編列方法之說明 SANTIAGO INDONESIA +86 (0)21 6355 1766 JAKARTA NORTH AND Tel: +852 2978 6788 +56 2 2 2631642 PORTUGAL Fax: +852 2760 1767 Denise Ratinoff +62 (0)21 7278 6268 NORTHEAST Charmie Hamami LISBON +44 (0)20 7104 5702 Email: [email protected] de Lira +351 919 317 233 其他安排以士有保之見為，作品在 Thomas Scott CHRISTIE'S FINE ART STORAGE SERVICES 重要通知 COLOMBIA ISRAEL Mafalda Pereira 士能與無的。這些包括士向術家之創作作完成，能在他 BOGOTA TEL AVIV Coutinho NORTHWEST NEW YORK +571 635 54 00 +972 (0)3 695 0695 (Consultant) AND WALES Tel: +1 212 974 4579 佳士得在受委託拍賣品中的權益方就品所者士與第三方保下完成。 Juanita Madrinan Roni Gilat-Baharaff +44 (0)20 7752 3033 Email: [email protected] ... RUSSIA Jane Blood 風，不要第三方不的面與時期 (Independant ITALY MOSCOW Consultant) D : 全歸士擁有的品品的。因為上與程無，們不在以士有保之見為，作品於該術家時期之 • MILAN +7 495 937 6364 SOUTH 士能不時士下公全擁有 DENMARK +39 02 303 2831 +44 20 7389 2318 +44 (0)1730 814 300 中以。創作，出該術家之。 COPENHAGEN Cristiano De Lorenzo Zain Talyarkhan Mark Wrey 之品。該等品在中於註有以 D ... 風 +45 3962 2377 ROME SINGAPORE SCOTLAND 。 Birgitta Hillingso +39 06 686 3333 SINGAPORE +44 (0)131 225 4756 利益方的競投以士有保之見為，作品有 (Consultant) Marina Cicogna +65 6735 1766 Bernard Williams 技人在品有經該品，們術家之風，是該術家生之 + 45 2612 0092 Jane Ngiam Robert Lagneau Rikke Juel Brandt NORTH ITALY º 保證最低出售價 David Bowes-Lyon 將以場知的方知所有者。該經包括作品。 (Consultant) +39 348 3131 021 SOUTH AFRICA (Consultant) 士有時就些受出的品的成有 ... Paola Gradi CAPE TOWN 受人保與，的品者有創作手法 FINLAND AND (Consultant) +27 (21) 761 2676 ISLE OF MAN 的經。常為其向方保無的結， THE BALTIC STATES Juliet Lomberg +44 (0)20 7389 2032 風安下的合作方保與品和 / 以士有保之見為，作品有 HELSINKI TURIN 方將就品的出最出。這被稱為保最 (Independent 知們其該品的。術家之風，於後時期完成。 +358 40 5837945 +39 347 2211 541 Consultant) CHANNEL ISLANDS Barbro Schauman 出。該等品在中於註有 º 以 ... Chiara Massimello +44 (0)20 7389 2032 品 (Consultant) (Consultant) DURBAN & IRELAND 。 http://www.christies.com/financial-interest/ 以士有保之見為，作品是 JOHANNESBURG FRANCE VENICE +27 (31) 207 8247 +353 (0)87 638 0996 更多於最出保以第三方安的明。術家作品之品日期。 BRITTANY AND +39 041 277 0086 Gillian Scott-Berning Christine Ryall THE LOIRE VALLEY Bianca Arrivabene (Consultant) º♦ 第三方保證 / 不可撤銷的競投 ...... (Independent 名、日期、題 +33 (0)6 09 44 90 78 Valenti Gonzaga Consultant) 在士經最出保，品能出， Virginie Greggory (Consultant) UNITED STATES 士在中一品中有所有經以士有保之見為，作品由 (Consultant) WESTERN CAPE CHICAGO 士將遭受大失的風。因此，士有時，士將不於一品註，於術家名上日期題。 BOLOGNA +27 (44) 533 5178 +1 312 787 2765 GREATER +39 051 265 154 Annabelle Conyngham Catherine Busch 與第三方該風。在這種情下，第三方同在明其。有 ... 名、有 ... 之日期、有 ... 之題、 EASTERN FRANCE Benedetta Possati Vittori (Independent DALLAS 之前就該品一不的面。第三方因此 +33 (0)6 07 16 34 25 Venenti (Consultant) Consultant) Jean-Louis Janin Daviet +1 214 599 0735 GENOA Capera Ryan 該品，沒有其，等三方將以面以士有保之見為名日期題不是 (Consultant) SOUTH KOREA 有關繪畫、素描、版畫、小型畫、雕塑、裝置、 +39 010 245 3747 SEOUL 該品，有其更高的。第三方因此 NORDPAS DE CALAIS Rachele Guicciardi HOUSTON 錄像、書法及手繪瓷器術家所為。 +82 2 720 5266 +1 713 802 0191 +33 (0)6 09 63 21 02 (Consultant) Jun Lee 品能出的所有風。品能出下於本中有以下義。本中有作 Jean-Louis Brémilts Jessica Phifer FLORENCE ，第三方能失。該等品在中以 (Consultant) SPAIN LOS ANGELES 者身的所有明照本公之品保的、現印刷品之日期是之日期大日 +39 335 704 8823 MADRID º♦ 以。 •PARIS Alessandra Niccolini +1 310 385 2600 而作出。期而不一是作品印刷出版之日。 +34 (0)91 532 6626 Sonya Roth +33 (0)1 40 76 85 85 di Camugliano Carmen Schjaer (Consultant) POITOUCHARENTE Dalia Padilla MIAMI 第三方要風，在自身不是成功人的情下，方自各品的，向士要於本方法之明中此其義為對作者身 AQUITAINE CENTRAL & +1 305 445 1487 SWEDEN Jessica Katz 士將第三方。第三方的以是 +33 (0)5 56 81 65 47 SOUTHERN ITALY STOCKHOLM 面。而之有明。然本之用，於 Marie-Cécile Moueix +39 348 520 2974 於成計的。第三方以就該品以超 +46 (0)73 645 2891 •NEW YORK 表家之見，士人於內用此 Alessandra Allaria Claire Ahman +1 212 636 2000 PROVENCE (Consultant) 面的行。第三方成功，第三方 ALPES CÔTE D'AZUR (Consultant) 有保留的標題其所描之品其作者身之性，不 +46 (0)70 9369 201 SAN FRANCISCO 全成方。 +33 (0)6 71 99 97 67 JAPAN +1 415 982 0982 士是於該術家之作品受風、義，而品保，不 Fabienne Albertini- TOKYO Louise Dyhlén (Consultant) Ellanor Notides 們要第三方保人向其在保的品傳、為是 ... 之作品用於以此所描的品。 Cohen +81 (0)3 6267 1766 Katsura Yamaguchi 有的經。見理人一以士有保之見為，作品大示為有第三方的品，們當要的全是術家之創作。理人他 / 她是在品有經。 ... 之創作... 之作

01/10/18

• DENOTES SALEROOM ENQUIRIES — Call the Saleroom or Office EMAIL — [email protected] For a complete salerooms & offices listing go to christies.com

374 375 376

✃ details cannot changeddetails be after thesale. invoice that and agents, including parties, third from payment accept not Christie's does that note Please 1. 1. at hisorherowndiscretion.the auction of course the during increments the vary may auctioneer The byHK$50,000s Above HK$1,000,000 HK$500,000 toHK$1,000,000 byHK$20,000,50,000,80,000 byHK$20,000s byHK$10,000s byHK$5,000s HK$300,000 toHK$500,000 HK$200,000 toHK$300,000 HK$100,000 toHK$200,000 byHK$2,000,5,000,8,000 HK$50,000 toHK$100,000 byHK$2,000s byHK$1,000s byHK$500s HK$30,000 toHK$50,000 HK$20,000 toHK$30,000 HK$10,000 toHK$20,000 HK$5,000 toHK$10,000 HK$3,000 toHK$5,000 HK$2,000 toHK$3,000 HK$1,000 toHK$2,000 bidding-interval. lowered thenext may be to set below increments the to conform not do that bids Written increments. bid the and start should bidding the where decide will auctioneer The cent. per 10 to up of increments) (bid steps in the below starts generally Bidding No.1 Drive, Wanchai, Expo Hong Kong Hong Centre, Kong Convention andExhibition Grand Hall, 2. 2. 5. 4. 3. in theHigh Value Forms. Lot Deposit details bank your provide you that sure make Please Christie's. by determined as method other such or transfer wire of way by you to refunded be will deposit the money, any company group inanyIf youare bidanddonot oweany Christie's not successful bidfor High to Valuebefore sale permitted Iwillnot be Lots. pre-registration ValueLot High the completed not have I if that understand I [email protected]. to email by Department Bids the to sent be should Forms Deposit Lot Value High the High Valueand Lot pre-registration completed. hasbeen application sale of day the to prior arranged been has deposit a if ValueLots High for bids accept only usually will auctioneer The Auction Results: +852 1766. 2760 Christie's beyond circumstances reasonable control. from arising damage or loss or service this with problems any for liable be not will Christie's be, can reasonably it as careful as be will Christie's while that, and clients for provided service free a is service bid written Christie's that understand I LOT NUMBER: SALE NUMBER: CODE NAME: 1.00PM SUNDAY 25 NOVEMBER 2018 BIDDING INCREMENTS WWW.CHRISTIES.COM BID ONLINE FOR THIS SALE AT COLLECTIONS WOODBLOCK PRINTS FROM PRIVATE INCLUDING A SELECTION OF JAPANESE ASIAN 20TH CENTURY DAYART SALE

maximum bid I have indicated forlot each bidIhave indicated maximum stated the on bid to Christie's request I of the of 25% to equal amount an be shall rate premiumbuyer's Christie's)The at . Buying • Sale of Conditions the with accordancein premiumbuyer's and price hammer the on chargable taxes any with (together premium the of sum the be will payable amount the successful is bid my if that understand I of thehammer price lot ofeach 22.5% of rate ﬂat30,000,000. a HK$ is above there wine For amount the of 12.5% and 30,000,000 HK$ including and to up 2,000,000 HK$ over amount any on 20% 2,000,000, Written bids submitted on "no on submitted bids Written ﬁrst. biditreceived andaccepted written the sell will Christie's lot, the on bids highest the are these auction the at and amounts identical a on bids written Christie'sreceive if that understand I Christie'sat inthecatalogue. printed Buying • Sale of Conditions the by bound be to agree I than 50% ofthelow estimate. the of 50% approximately at executed be bid, higher a of absence low estimate low of each each of price hammer MODERN A18 301602 13279 or at the amount of the bid if it is less is it if bid the of amount the at or hammer price hammer at auctioneer'sdiscretion HK$380,000) (ie: HK$320,000,HK$350,000, HK$38,000) (ie: HK$32,000,HK$35,000, HK$4,800) (ie: HK$4,200,HK$4,500, by HK$200,500,800 by HK$200s by HK$100s lot sold. and increases and estimate low reserve up to and including HK$ including and to up

lot to the bidder whose bidder the to . and the and " lots lots will, in the in will, up to the to up buyer's buyer's lot for PLEASE CLEARLY PRINT are asked to provide a deposit, it may be made by calling at +852 2978 5371. Your bidder registration will not be be not will registration bidder Your5371. infullandcleared wereceive until payment funds. ofthedeposit 2978considered complete +852 at calling by made be may it you deposit, If a bid. provide to to you asked allowing are of condition a as appropriate deem we as deposit a require also bank may recent we and/ora and reference statement bank a supply to asked be will occasions previous on than more spend those to and wishing months, 12 last the within oÌice Christie's any from purchase a made not have who clients clients, New ofauthorisation from letter you are withasigned that party. bidding, together onwhosebehalf for withChristie's, yourself documents aswelltheparty or consigned identification please attach bid previously not has who someone of behalf on bid to registering are you supply.If should you information the on 2978advice 6870852for + at Department Credit the contact please partnerships:trusts,o²shore or companies shareholders. and directors listing document official and with stamp chopped company applicable, where and, representative legal the or director the by signed duly authorization of letter clients: Corporate proof ofcurrent and, ifnot shown address, billorbankstatement. ontheIDdocument, for example autility passport) or card, identity national licence, driving photo a as (such identification documents. photo followinggovernment-issued Individuals:the of copies attach please Christie's, with consigned or bid previously not have you If Tel: Department. Bid +852 2978 Email: 9910 [email protected] resubmit your bid(s) orcontact: day,please business one within confirmation received not have you If e-mail. return by e-mail by received bids all confirm Christie'swill begins. auction the before hours 24 least at received be must bids Written Signature Shipping address ( Please verify email address for post-sale communication: (Mobile) Number Contact Address Client print) Name(please Client (ifapplicable) Number Christie's Hong Kong Written Form Bids I HAVE READ ANDBID UNDERSTOOD FORM AND OFTHE CONDITIONS SALE THIS WRITTEN • BUYING AT CHRISTIE'S (in numerical order) Lot number Pleaseifyou tick prefer salesbye-mail receive ourupcoming information notto about Required Shipping Quote certificate of incorporation, proof of company address, photo ID copy of the authorized bidder,authorized the of copy ID photo address, company of proof incorporation, of certificate Sameaddress): theabove as (excluding buyer's premium) Maximum BidHK$

Paddle No. Date (in numerical order) Lot number Other business structures such as such structures business Other (excluding buyer's premium) Maximum BidHK$ 377 亞洲二十世紀藝術 ( 日間拍賣 ) 書面競投表格 BIDDER REGISTRATION FORM Paddle No. 包括日本木刻版畫私人珍藏香港佳士得 We encourage new clients to register at least 48 hours in advance of a sale to allow su icient time to process the registration. 二 O 一八年十一月二十五日書面競投必須在拍賣開始前至少 24 小時收到。 Please complete and sign this form and send it to us by email [email protected]. 星期日下午一時正佳士得公司將以電郵確認收到閣下電郵之書面競投表格。如您在一個工作日內未能收到確認，請重新遞交書面競投表格或聯繫投標部。 A Bidder's Detail 香港灣仔博覽道 1 號電話：+852 2978 9910 電郵：[email protected] The name and address given above will appear on the invoice for lots purchased with your assigned paddle for this registration. Please check that 香港會議展覽中心大會堂 the details are correct as the invoice cannot be changed after the sale. 編號名稱：現代 A18 拍賣編號：13279 用 Account Name Account No. 拍賣品編號：301602 名稱用 Address 佳士得不接受包括代理人在內之第三方付款；付款資料於拍賣會完結後將不能更改。地 Post/Zip Code 與入士 Phone No. 競投價遞增幅度一由於低端估價始，常次之幅幅最高為 10%，自行始聯手 Please verify email address for post-sale communication 幅。面與下之幅不一，將被至下一個地以作後服用 Shipping Quote Required. 次之 Shipping Address ( Same as the above address): 1,000-2,000 元 100 元 2,000-3,000 元 200 元 3,000-5,000 元 200, 500, 800 元地 ( 同上地同) ( 4,200, 4,500, 4,800 元 5,000-10,000 元 500 元 10,000-20,000 元 1,000 元 B Identity Documents and Financial References 20,000-30,000 元 2,000 元 If you are a new client, please provide copies of the following documents. Individuals: government-issued photo identification (such as a national identity card or passport) and, if not shown on 30,000-50,000 元 2,000, 5,000, 8,000 元下不本公將行的、動其他由士其聯公的服，於方內劃 the ID document, proof of current address, for example a utility bill or bank statement. Corporate clients: a certificate of incorporation, proof of company address, photo ID copy of the authorized ( 32,000, 35,000, 38,000 元 bidder, letter of authorization duly signed by the director or the legal representative and, where applicable, chopped with company stamp and o±icial document listing directors and shareholders. 上。 Other business structures such as trusts, o²shore companies or partnerships: please contact the Credit Department at +852 2978 6870 for advice on the information you should supply. 50,000-100,000 元 5,000 元 100,000-200,000 元 10,000 元本人細理本面表 • 方知。 If you are registering to bid on behalf of someone who has not previously bid or consigned with Christie's, please attach identification documents for yourself as well as the person on whose behalf you are bidding, together with a signed letter of authorisation from the person. 200,000-300,000 元 20,000 元 New clients, clients who have not made a purchase from any Christie's o±ice within the last 12 months, and those wishing to spend more than on previous occasions will be asked to supply a 300,000-500,000 20,000, 50,000, 80,000 元元 bank reference and/or a recent bank statement and we may also require a deposit as we deem appropriate as a condition of allowing you to bid. Deposit can be paid by using any of the following (320,000, 350,000, 380,000元 methods: credit card(s) acceptable to Christie's; wire transfer; cashier order or cheque. We cannot accept payment from third parties and agents. If you are asked to provide a deposit, it may be 500,000-1,000,000 元 50,000 元名日期 made by calling at +852 2978 5371. Your bidder registration will not be considered complete until we receive payment of the deposit in full and cleared funds. 1,000,000 元以上自行 To apply for a high value lot ("HVL") paddle, you will need to pay a HVL deposit, which we will calculate for you. Generally it will be the higher of: (i) HK$ 1,600,000 or (ii) 20 % of the aggregate low estimates of the HVLs you intend to bid on; or (iii) such other amount as we may determine from time to time. The HVL registration procedure applies even if you have already registered to 在時情更次之。 bid in our sales on other lots. We reserve the right to change our HVL registration procedure and requirements from time to time without notice.

士就本表所的拍賣品行，至本表所如閣下未曾於佳士得競投或託售拍賣品，請附上以下文件之副本。個人：政府發出附有相片的身份證明文件（如國民身份 C Sale Registration 的最高出。證或護照），及（如身份證明文件未有顯示現時住址）現時住址證明，如公用事業帳單或銀行月結單。公司客戶：公司註冊證書、公司地址證明、被授權競投者附有相片的身份證明文件，由公司董事或法人按公司規定簽署及（若有）蓋有公司 Fine and Rare Wines 15956 Chinese Contemporary Ink 本人知成功，本人之為成交價買方 16127 酬金（以及所有基於成交價和買方酬金而產生的稅費，及符章的競投授權書，以及列出所有董事及股東的公司文件。其他業務結構，如信託機構、離岸公司或合夥公司：請與信用部 Featuring an Incredible Collection of Century Old Madeira 15957 Fine Chinese Classical Paintings and Calligraphy * 合業務規定•買方須知）。買方酬金費率品成聯絡，以諮詢閣下須提供何種資料，電話為 +852 2978 6870。如閣下登記代表未曾於佳士得競投或託售拍賣品人士競 16129 Important Watches 15958 Fine Chinese Modern Paintings * 16131 Hong Kong Magniﬁcent Jewels * 元之，元以上投，請附上閣下本人的身份證明文件，以及閣下所代表競投人士的身份證明文件，連同該人士簽發的授權書。 Beyond Compare: A Thousand Years of the Literati Aesthetic 16133 Handbags & Accessories 17461 至元之；元以 (Evening Sale) * 上之計。名的買方酬是品成之新客戶、過去十二個月內未有在佳士得投得拍賣品，及本次擬出價金額高於過往之客戶，須提供銀行信用證明及／或近期 13278 Asian 20th Century & Contemporary Art (Evening Sale) * The Meiji Aesthetic: 。 17418 的銀行月結單，亦或須繳付本公司指定的有關保證金作為允許閣下競投的先決條件。如閣下被要求提供保證金，閣下可致 13280 Asian Contemporary Art (Day Sale) Selected Masterpieces from a Private Asian Collection 本人同受本中所之的。電 +852 2978 5371。閣下的競投申請會在我們收到保證金的全額付款後方可作實。 Asian 20th Century Art (Day Sale) 16264 Chinese Archaic Jades From The Yangdetang Collection PART II 本人理士到多個等的面，而在 13279 Including a Selection of Japanese Woodblock Prints from Private Collections 16266 Multifarious Colours - Three Enamelled Qianlong Masterpieces * 時此等該品之最高出，則該品最 15961 Important Chinese Ceramics and Works of Art * 達其面本公之人。 17441 Gold Boxes 以面一沒有底價的拍賣品，而沒有其他 * If you intend to bid on: (i) any lot in the Asian 20th Century & Contemporary Art Evening Sale; or (ii) a lot the low estimate of which is HK$ 8 million 更高，們為以低端估價的行；請用正楷填寫清楚 or above, i.e. a high value lot ("HVL"), please tick the box below. 的於低端估價的，則以的行。拍賣品編號最高競投價（港幣）拍賣品編號最高競投價（港幣） I wish to apply for a HVL paddle. （按數字排序）（買方酬金不計在內）（按數字排序）（買方酬金不計在內）本人明白，士的面服為一向的服 If you intend to bid on the "Wood and Rock" by Su Shi, please tick the box below. ，士合理行，士不就在士的以生的失。 I wish to apply for a HVL paddle designated for the "Wood and Rock".

拍賣結果查詢：+852 2760 1766. Please indicate the bidding level you require: HK $ 0 - 500,000 HK $ 500,001 - 2,000,000 HK $ 2,000,001 - 4,000,000 一僅受於日前保完成高品 HK $ 4,000,001 - 8,000,000 HK $ 8,000,001 - 20,000,000 HK $ 20,000,000 + 人士之高品。將之高品之表至。本人知本 D Declarations 人於前完成高，本人將不高 • I have read the "Conditions of Sale • Buying at Christie's" and "Important Notices and Explanation of Cataloguing Practice" printed in the sale catalogue, as well as the "No Third Party 品。 Payment Notice" and agree to be bound by them. • I have read the data collection section of the conditions of sale printed in the sale catalogue and agree to be bound by its terms. 下能成功拍賣品，對士佳士得集團其他公 • I understand that if I have not completed the high value lot pre-registration before the auction Christie's may refuse my bid for high value lots. 無，保將以方士之其他方 • If you are not successful in any bid and do not owe any Christie's group company any money, the deposit will be refunded to you by way of wire transfer or such other method as 退還下。保下有之行情。 determined by Christie's. please make sure that you provide your bank details to us. Please tick if you are a new client and would like to receive information about sales, events and other services o±ered by the Christie's group and its a±iliates by e-mail. You can opt-out of receiving this information at any time.

Name Signature Date ✃ ✃

Christie's Hong Kong Limited 22nd Floor Alexandra House, 18 Chater Road, Central, Hong Kong Tel: +852 2760 1766 www.christies.com 378 379 現場競拍登記表格 CHRISTIE'S

建議新客戶於拍賣舉行前至少 48 小時辦理登記，以便有充足時間處理登記手續。本表然後至 [email protected]。 CHRISTIE'S INTERNATIONAL PLC SENIOR VICE PRESIDENTS ASSOCIATE VICE PRESIDENTS François Pinault, Chairman Pola Antebi, Karen Au Yeung, Lavina Chan, Lee Bingle, JeÌ Chan, Selina Chan, A 投標者資料 Guillaume Cerutti, Chief Executive OÌicer YF Cheung, Elaine Holt, Kitty Mak, Winifred Chan, Kelly Chang, Lesley Chen, Stephen Brooks, Deputy Chief Executive OÌicer Ada Ong, Julien Pradels, Audrey Shum, Amy Cheng, Joanne Cheng, Isaac Choi, 名稱地印在有是次之的發上；於完結後將不能更，以上無 Jussi Pylkkänen, Global President Simon Tam, Chi Fan Tsang, Katsura Yamaguchi Terry Choi, Yanie Choi, Betsy Chow, François Curiel, Chairman, Europe & Asia Dai Dai, Helen Fung, Phybie Ho, Jean-François Palus VICE PRESIDENTS Yunah Jung, Joyce Lee, Kevyn Leung, 名稱 Stéphanie Renault Carmen Shek Cerne, Joyce Chan, Janet Chang, Nelly Li, Rachel Li, Georgina Liu, Héloïse Temple-Boyer Liang-Lin Chen, Blanca Cheng, Fung Chiang, Vicky Liu, Yu-Shan Lu, Benson Or, Sophie Carter, Company Secretary Jennie Chu, Isabel Coutier, Charmie Hamami, Felix Pei, Zhongwei Qin, Sherese Tong, 地 Dexter How, Julia Hu, Marcello Kwan, Mandy Wang, Michael Xie, Maxwell Yao, INTERNATIONAL CHAIRMEN Elaine Kwok, Stephenie Leung, Ruben Lien, Harriet Yu, Michelle Zhang Stephen Lash, Chairman, Emeritus, Americas Gabrielle Mak, Sara Mao, Lillian Ng, The Earl of Snowdon, Honorary Chairman, EMERI Jasmin Ngai, Gen Ogo, Jessie Or, Charles Cator, Deputy Chairman, Christie's Int. Terence Poon, Alexandra Reid, Bo Tan, Francis Tsang, Lihua Tung, Nicole Wright, CHRISTIE'S ASIA Alan Yip, Kim Yu, Dina Zhang, François Curiel, Chairman Grace Zhuang Rebecca Wei, President 請確認電郵地址以作售後服務用途 CHAIRMAN'S OFFICE Jonathan Stone, Chairman, Asian Art 。 Eric Chang, Deputy Chairman Ben Clark, Deputy Chairman 地同上地同 Ben Kong, Deputy Chairman Vickie Sek, Deputy Chairwoman

CHRISTIE'S ADVISORY COUNCIL, ASIA Rebecca Wei, Chairwoman B 身份證明文件及財務證明 Jinqing Cai, Deputy Chairwoman Pierre Chen, Raymond Ch'ien, William Fung, 下為，以下之本。個人：發出有的身明國身護照，身明有顯示現時現時明，公用 Qiong Er Jiang, Handel Lee, Anthony Lin, 事行月結。公司客戶：公註、公地明、被者有的身明，由公事法人公有有公章的 Mary Ma, Pan Gong Kai, Dee Poon, ，以出所有事的公。其他業務結構，如信託機構、離岸公司或合夥公司：與用聯，以下種，為 +852 2978 6870。 Mimi Tang, Patrick Thomas, Wang Wei, 下表於士品人士，上下本人的身明，以下所表人士的身明，同該人士發的。 Douglas Woo 、二個月內有在士品，本次出高於之，行用明期的行月結，本公的有保作 05/10/18 為許下的。下以士受之用、、本保。士不受第三方理人之。下被要保，下 +852 2978 5371 安。下的在們到保的全後方作。高品，下用於高品的保一為 (i) 1,600,000 元； (ii) 下的全品之 20%； (iii) 其他們不時設的以高者為準。下於士其他，下為高品高品程行。士保不時更高品程要的而不作另行知。 HONG KONG AUCTION CALENDAR C 拍賣項目登記 16127 士名呈馬德年藏 15956 中國當水 16129 精名 15957 中國畫 * FINE AND RARE WINES GOLD BOXES BEYOND COMPARE: CHINESE ARCHAIC JADES 16131 * 15958 中國現畫 * FEATURING AN INCREDIBLE Sale number: 17441 A THOUSAND YEARS OF FROM THE YANGDETANG 16133 傳手 COLLECTION OF CENTURY OLD SUNDAY 25 NOVEMBER THE LITERATI AESTHETIC COLLECTION PART II MADEIRA 4.00 PM EVENING SALE¡ Sale number: 16264 17461 不一年間* Sale number: 16127 Viewing: 23-25 November Sale number: 17461 WEDNESDAY 28 NOVEMBER 13278 二當術間* SATURDAY 24 NOVEMBER MONDAY 26 NOVEMBER 10.30 AM 13280 當術日間 17418 明治人藏明治時精品 10.30 AM CHINESE CONTEMPORARY INK 7.00 PM Viewing: 23-27 November 13279 二術日間包括日本版畫人藏 16264 德藏中國二 Sale number: 15956 Viewing: 23-26 November ASIAN 20TH CENTURY & HANDBAGS & ACCESSORIES 16266 三絕 * MONDAY 26 NOVEMBER CONTEMPORARY ART 11.00 AM THE MEIJI AESTHETIC: Sale number: 16133 17441 15961 要中國精品 * EVENING SALE¡ Viewing: 23-25 November SELECTED MASTERPIECES FROM WEDNESDAY 28 NOVEMBER Sale number: 13278 A PRIVATE ASIAN COLLECTION 11.00 AM * 下有 (i) 士二當術間之品； (ii) 其他為 8,000,000 元以上的品，高 SATURDAY 24 NOVEMBER IMPORTANT WATCHES Sale number: 17418 Viewing: 23-27 November 品，於以下方劃上。 6.00 PM Sale number: 16129 TUESDAY 27 NOVEMBER 本人有意登記高額拍品競投牌。 Viewing: 23-24 November MONDAY 26 NOVEMBER 10.00 AM MULTIFARIOUS COLOURS 12.00 PM Viewing: 23-26 November THREE ENAMELLED QIANLONG 下有之《石圖，於以下方劃上。 ASIAN CONTEMPORARY ART Viewing: 23-25 November MASTERPIECES DAY SALE¡ FINE CHINESE CLASSICAL 本人有意登記有關《石圖的高額拍品競投牌。 Sale number: 16266 Sale number: 13280 FINE CHINESE MODERN PAINTINGS AND CALLIGRAPHY WEDNESDAY 28 NOVEMBER SUNDAY 25 NOVEMBER Sale number: 15957 2.30 PM 下之 PAINTINGS 10.00 AM Sale number: 15958 TUESDAY 27 NOVEMBER Viewing: 23-27 November 0 - 500,000 500,001 - 2,000,000 2,000,001 - 4,000,000 Viewing: 23-24 November MONDAY 26 NOVEMBER 10.30 AM 4,000,001 - 8,000,000 8,000,001 - 20,000,000 20,000,000 + 2.30 PM Viewing: 23-26 November IMPORTANT CHINESE CERAMICS ASIAN 20TH CENTURY ART TUESDAY 27 NOVEMBER AND WORKS OF ART 聲明 DAY SALE¡ 2.30 PM HONG KONG MAGNIFICENT Sale number: 15961 D INCLUDING A SELECTION OF Viewing: 23-26 November JEWELS WEDNESDAY 28 NOVEMBER JAPANESE WOODBLOCK PRINTS • 本人細載於內之的 • 家知、要方法之明不受第三方，同所有。 Sale number: 16131 2.30 PM FROM PRIVATE COLLECTIONS TUESDAY 27 NOVEMBER Viewing: 23-27 November • 本人細載於內之，同該。 Sale number: 13279 1.00 PM • 本人知本人於前完成高，士將有不受高品之。 SUNDAY 25 NOVEMBER Viewing: 23-27 November 1.00 PM • 下能成功品，對士士公無，保將以方士之其他方退還下。保下有之行情。 Viewing: 23-24 November 下為本公將行的、動其他由士其聯公的服，於方內劃上。下時此息。

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佳士得香港有限公司中打歷大 www.christies.com All dates are subject to change, please phone +852 2760 1766 for conﬁrmation Printed by Dah Chen Design and Printing Company

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ASIAN 20TH CENTURY ART DAY SALE Including a Selection of Japanese Woodblock Prints from Private Collections 亞 洲 二 十 世 紀 藝 術 日 間 拍 賣 包 括 日 本 木 刻 版 畫 私 人 珍 藏

ASIAN 20TH CENTURY ART DAY SALE Including a Selection of Japanese Woodblock Prints from Private Collections 亞洲二十世紀藝術日間拍賣包括日本木刻版畫私人珍藏