Since its founding in 1839, this famous Geneva-based firm has been surprising its clientele with superbly crafted timepieces fitted with watchmaking's most prestigious complications. Traditional and conservative designs are found across Patek Philippe's watches made throughout their history — the utmost in understated elegance.

Well-known for the Graves Supercomplication — a highly complicated pocket watch that was the world’s most complicated watch for 50 years — this family-owned brand has earned a reputation of excellence around the world. Patek's complicated vintage watches hold the highest number of world records for results achieved at auction compared with any other brand. For collectors, key models include the reference 1518, the world's first serially produced perpetual calendar chronograph, and its successor, the reference 2499. Other famous models include perpetual calendars such as the ref. 1526, ref. 3448 and 3450, chronographs such as the reference 130, 530 and 1463, as well as reference 1436 and 1563 split seconds chronographs. Patek is also well-known for their classically styled, time-only "Calatrava" dress watches, and the "Nautilus," an iconic luxury sports watch first introduced in 1976 as the reference 3700 that is still in production today.

","artistBirthYear",1839,"artistNationality","Swiss","extraInfo","

Thomas Perazzi
\nHead of Watches, Asia
\n+852 2318 2030
\nWatchesHK@phillips.com
\n
\nGertrude Wong
\nHead of Sale, Hong Kong
\n+852 2318 2045
\ngertrudewong@phillips.com
\n

\n","circa","1951","dimensions","36.2mm diameter","sigEdtMan","Case, dial, movement and buckle signed","preface","PLEASE NOTE, THIS LOT IS A PREMIUM LOT. TO BID ON THE LOT YOU MUST COMPLETE AND SATISFY OUR PREMIUM LOT PRE-REGISTRATION PROCEDURE NO LATER THAN 24 HOURS BEFORE THE START OF THE AUCTION SESSION IN WHICH IT IS OFFERED. PLEASE ALSO NOTE THAT ALL BIDDERS MUST PLACE BIDS IN PERSON, VIA ABSENTEE BID, OR BY TELEPHONE. PLEASE CONTACT THE DEPARTMENT FOR DETAILS.","essay","Good To Know:\r\n\r\n-\tReference 2499 First series with Vichet case in pink gold\r\n-\tOnly 4 known in Vichet case\r\n-\tThe only one known with British hallmarks\r\n-\tCase and dial are extremely well-preserved\r\n-\tConsidered one of the Holy Grails by collectors\r\n\r\nCertain timepieces, by virtue of their provenance, scarcity and undeniable beauty, transcend mere ownership and enter the realm of legend: watches that every serious collector aspires to possess and that, once obtained, confer a quiet but unmistakable sense of satisfaction. These are the icons that define taste, set market benchmarks and populate the sanctums of the most selective cabinets; acquiring one signals membership in an elite fellowship of connoisseurs whose standards are exacting and uncompromising.\r\nThe present Patek Philippe reference 2499, First Series in pink gold occupies the very summit of perpetual calendar chronograph collecting. It stands among the rarest trophies in the world of connoisseurship—on a par, in terms of desirability and mythic status, with a 1954 Mercedes-Benz 300SL Gullwing, a Picasso canvas or a bottle of vintage Château Lafite. Exceptionally scarce, almost impossible to source and utterly defining of its category, this watch does more than represent value: it embodies the pinnacle of taste and historical importance.\r\n\r\nReference 2499\r\n\r\nTaking over the important reign in 1951, Patek Philippe released the coveted ref. 2499, which was still the only wristwatch with such complication in any watch catalogue at the time. Utilizing the same movement cal. 13-130 (Valjoux VZ 23 base) as the ref. 1518, the ref. 2499 boasted a completely new and refreshed case design. While the ref. 1518 features a rather traditional Calatrava inspired case with thin and elegant elongated lugs reminiscent of the stylistic period of the 1940s, collectors believe that the ref. 2499 is the perfect interpretation of a timeless appeal.\r\n\r\nWith excellent proportions and perfect symmetry, the ref. 2499 features an elegant bassine-style case with distinctive fluted lugs. Early examples of the reference featured a tachymeter scale, applied gold Arabic numerals and square chronographic pushers that are similar to the ref. 1518. Discontinued in 1985 with a production spanning 34 years, only 349 examples of the ref. 2499 left the manufacturer across all metals and series resulting in an average of 10 pieces made annually.  \r\n\r\nThe Patek Philippe ref. 2499 across four series:  \r\n- First series (1951 – 1960): Square chronograph pushers, applied Arabic or baton numerals and tachometer scale. (Present example)  \r\n- Second series (1955 – 1964): Round chronograph buttons, either applied Baton or applied Arabic numerals, tachometer scale, “floating” date ring  \r\n- Third series (1960 – 1978): Round chronograph buttons, applied baton numerals, outer seconds divisions, \"floating\" date ring, no tachometer scale.   \r\n- Fourth series (1978 – 1985): Round chronograph buttons, applied baton numerals, “floating” date ring, outer seconds divisions (shorter than Third Series), no tachometer scale, sapphire crystal commanding a thicker bezel.\r\n\r\nBearing traits that are unique to the specific series transitioning over from the ref. 1518, the First Series can also be subdivided into two separate generations with cases made by two different casemakers, Emile Vichet (Key no. 9) and Edouard Wenger (Key no. 1).\r\n\r\nFirst Series in pink gold\r\n\r\nFirst series 2499 are known in both yellow and pink gold. However, only five are known in pink gold on the market, and it is an educated guess that the overall production is not much higher than that, thus making the pink 2499 first series one of the scarcest watches in history. The four known watches with Vichet case bear the following movement numbers and consequently, the present watch might be the second pink Vichet 2499 ever produced.\r\n\r\nFirst Series Ref. 2499 in pink gold Vichet case known to the market:\r\n\r\nMovement No. 868'248, Case No. 665'024, 1951 – last auctioned in 2002\r\nMovement No. 868'249, Case No. 665'025, 1951 – last auctioned in 2014 (Present example)\r\nMovement No. 868'250, Case No. 665'026, 1951 – private collection\r\nMovement No. 868'338, Case No. 665'027, 1951 – last auctioned in 2002\r\n\r\nCase with British hallmarks\r\n\r\nThe first series of reference 2499 is not only the most immediately recognisable of the four series—distinguished by its square pushers rather than the round pushers of later series—but also the rarest. Two different casemakers were employed during its production, and first series cases therefore show subtle variations depending on the maker. The earliest examples, such as the present piece, were made by Vichet and are characterised by a slightly smaller 36.2 mm diameter, a flat caseback and more pronounced, downturned “claw‑shaped” lugs. After roughly two years Patek Philippe switched to Wenger, which supplied nearly all cases for the remainder of 2499 production until 1985. Wenger examples typically measure about 37.5 mm, feature less markedly downturned lugs and a bombé caseback.\r\n\r\nBeyond the rarity of the Vichet case itself, the present example is exceptional in another respect: it is the only known First series 2499 in pink gold to be stamped with British hallmarks. The caseband bears a British import mark, with an additional Swiss hallmark behind the lugs—an uncommon provenance that further distinguishes the watch.\r\n\r\nThe British hallmarks inside the caseback tell us a very intriguing story as the Extract from the Archives stated that the watch was manufactured in 1951 and sold in 1956. The watch however, is imported to London in 1955 and stamped with the “U” date letter alongside the London import mark “Ω” used for 18K gold at the time.\r\n\r\nTo underscore its significance, another yellow gold First series 2499 with British hallmarks (movement number 868'346) sold in 2018 for CHF 3,915,000, setting a world record for the reference at the time.\r\n\r\nDial\r\n\r\nWith extensive research and findings of the ref. 2499 by dedicated scholars’ overs the years, it is to our knowledge that a total of two dial variations for the first series were produced.\r\n\r\n-Dial A: Similar in style to the dials used on reference 1518. Features applied gold Arabic numerals, a tachymeter scale (in kilometers or miles) and a “Chemin de Fer” (railway) date scale. (The present example)\r\n-Dial B: Features applied gold Arabic numerals and a tachymeter scale (in kilometers or miles) but without the “Chemin de Fer”.\r\n\r\nThe present, spectacular dial manufactured by Fabrique de Cadrans Stern Frères uses the kilometer scale and it is breathtaking in both design and preservation for a watch of this age. The black hard enamel signature and scales are nice and well-defined. The back of the dial is further engraved with the full movement number. The date scale includes the early “Chemin de Fer”, closely resembling those found on early reference 1518 dials, though with a slightly narrower gap around the moon phases aperture. The natural ageing of the applied indexes has produced a darker, even patina that confirms the dial’s originality while remaining very well preserved. \r\n\r\nCondition\r\n\r\nThe watch’s exceptional preservation extends to the case, which remains remarkably well maintained. The original proportions are intact, with only very light surface wear. All hallmarks are exceptionally crisp particularly on the caseband, an area prone to rounding from even the slightest polishing, and the caseback retains its original factory satin finish. The large winding crown, chronograph pushers and date correctors are all original and their excellent state of preservation suggests the watch saw very little wrist time. The bezel, engraved with the last three digits of the case number, likewise retains its original shape and volume, in keeping with the condition of the rest of the case.\r\n\r\nThis quality of preservation is especially evident in the “clawed” lugs. Elaborate lugs such as these are highly vulnerable to over‑polishing, too often examples of reference 2499 show lugs reduced to faint shadows of their former profiles, with grooves diminished and sharp edges rounded. By contrast, this superb specimen has evidently been carefully cared for: the lugs are thick and immaculate, with pronounced, crisply defined fluting—a clear indicator of minimal wear and careful stewardship over time.\r\n\r\nProvenance\r\n\r\n1951 – Date of manufacture\r\n1955 – Imported to London\r\n1956 – First sold\r\n2004 – First time in auction\r\n2008 – Second time in auction\r\n2014 – Landmark 175th anniversary auction of Patek Philippe\r\n2026 – Phillips Hong Kong\r\n\r\nThis timepiece previously appeared at auction in 2004 and 2008, and was offered again in the landmark sale marking Patek Philippe’s 175th anniversary in 2014, where it realised CHF 2,629,000—an outcome that affirmed its significance as both a watch and an objet d’art. The watch remains in the same well-preserved condition as it was last seen in the market.\r\n\r\nThis is the first time a First series pink gold reference 2499 has ever been offered at any watch auction in Asia and it marks the variation’s debut at Phillips in association with Bacs & Russo.\r\n\r\nWatches of this calibre does not appear very often in public. When they do, they draw the community together to celebrate the origins of haute horlogerie and to admire one of Patek Philippe’s most impressive wristwatches. We are extremely honoured that the collector entrusted us with presenting this celebrated and highly coveted example to the auction room once more, offering collectors a once-in-a-blue-moon opportunity to acquire this holy grail First series pink gold reference 2499.","mainImagePath","https://assets.phillips.com/auctions/HK080226/234083_001.jpg","additionalImagePaths",[421,422,423,424,425,426,427,428,429,430,431,432,433,434,435,436,437,438,439],"lotSymbols",[419,420],"conditionReport","Case: The case is presented in excellent overall condition with only signs of light wear from the past. The thickness and the step on the lugs are gorgeously preserved. The hallmarks on the caseband and behind the lug remain deep and crisp. The original satin finish is well-preserved on the caseback. The crown is original. The surface is generally clean and presented with light hairlines and scuffs only. The buckle is a later Patek Philippe one.\r\n\r\nDial: The dial is well-preserved and in excellent condition considering its age. The surface has developed a nice and attractive off-white colour. It is presented with ageing marks towards the registers, applied indexes and towards the edge of the apertures. The applied gold indexes and the hands have developed signs of patina consistently throughout the years. The hard enamel texts are very well-preserved without loss.\r\n\r\nMovement: The present example displays a perpetual calendar chronograph movement that functions properly during the cataloguing process and the date advances past midnight. Please note that the movement has not been tested for accuracy. A service is recommended. \r\n\r\n\r\nΣ ENDANGERED SPECIES\r\nLots with this symbol have been identified at the time of cataloguing as containing endangered or other protected species of wildlife which may be subject to restrictions regarding export or import and which may require permits for export as well as import. Please be advised that wristbands made of materials derived from endangered or otherwise protected species (i.e. alligator and crocodile) We reserve the right to remove these bands before shipping. Please refer to Paragraph 4 of the Guide for Prospective Buyers and Paragraph 11 of the Conditions of Sale or contact the department for further information.","auctionCode","HK080226","auctionCurrency",{"_231":232,"_233":234},"showRegistrationLink","accessories","Delivered with Patek Philippe Extract from the Archives confirming the date of manufacture of the present timepiece in 1951 and its subsequent date of sale on 17th April 1956.","referenceNo","2499 “The Pink First Series”","movementNo","868’249","caseNo","665’025","material","18K pink gold","calibre","Manual, cal. 13''', 23 jewels","braceletStrap","Crocodile","claspBuckle","18K pink gold Patek Philippe pin buckle","auction",{"_62":63,"_138":139,"_161":162,"_163":164,"_165":166,"_167":109,"_168":169,"_170":171,"_172":173,"_174":75,"_175":77,"_176":177,"_178":179,"_180":179,"_181":182,"_183":184,"_118":119,"_185":90,"_186":90,"_187":93,"_188":90,"_189":90,"_190":90,"_191":93,"_192":90,"_193":90,"_111":93,"_194":90,"_195":93,"_196":90,"_197":90,"_198":90,"_142":93,"_102":90,"_103":93,"_199":200,"_201":202,"_203":204,"_205":206,"_207":208,"_140":209,"_210":211,"_212":213,"_214":215,"_216":217,"_218":219},"auctionName","The Hong Kong Watch Auction: XXII","auctionLocation","Hong Kong","auctionTimezone","Asia/Hong_Kong","auctionStartDateTime","auctionEndDateTime","2026-05-31T10:00:00.000000Z","lowestEstimate",16000,"highestEstimate",48000000,"auctionStatus","saleTypeId","bannerImage","https://assets.phillips.com/image/upload/t_Website_AuctionPageHero/v1776677182/auctions/HK080226/HK080226.jpg","contactEmail","WatchesHK@phillips.com","conditionRequestEmail","auctionDetails","

Viewing
\n26 - 31 May 2026
\nTuesday - Sunday 10am-7pm
\n
\n1/F, WKCDA Tower, West Kowloon Cultural District, No. 8 Austin Road West, Kowloon, Hong Kong (map)
\n
\nSelected Highlights
\n22-23 May 2026
\n503 Pedder Arcade, Pedder Building, 12 Pedder St, Central, Hong Kong (map)
\n
\nGlobal Highlights Tour
\n
\nSingapore
\n10-11 April
\nThe St. Regis Singapore
\n29 Tanglin Rd, Singapore 247911 (map)
\nEnquiries: christinefernando@phillips.com
\nOpening Hours: 11:00AM—6:00PM
\n
\nTaipei
\n18-19 April
\nMarriott Taipei
\nNo. 199, Lequn 2nd Rd., Zhongshan Dist., Taipei City 104052, Taiwan (map)
\nEnquiries: taiwanoffice@phillips.com
\nOpening Hours: 11:00AM—6:00PM
\n
\nGeneva
\n6 – 10 May
\nHotel President Wilson
\nQuai Wilson 47, Geneva, Switzerland, 1211 (map)
\nOpening Hours:
\nWednesday - Friday 10:00AM - 7:00PM
\nSaturday 09:00AM - 6:00PM
\nSunday 09:00AM - 1:00PM
\n
\nView & Download e-Catalogue >
\n
\nAll bidding is subject to Phillips’s Conditions of Sale, as available on our website.
\n
\nPlease further note, non-US origin lots (e.g. watches and timepieces with Swiss-made movements) may be subject to special tariffs upon import to the USA. Buyers are responsible for paying any applicable tariffs, duties, taxes and charges when importing their purchased lots. Due to the evolving nature of international trade regulations, we recommend clients consult with their local customs office or advisor for up-to-date information on the applicable tariffs. Please ensure you are aware of the current tariffs applicable to your potential purchase before committing to any bids, as once placed, bids may not be cancelled or reduced.
\n

\n","auctionDetailsSmall","Hong Kong Auction 30 - 31 May 2026","enableHighlightsView","enableOnlineCatalogue","endSale","hideSoldLots","isChineseTranslate","isExhibition","isLiveAuction","isMixedAuction","makeLive","showArtCollector","showBuyButton","showCatalogueDownloadLink","showInquireButton","showPrintCatalogueSection","highlights",[386,387,388,389,390,391,392,393,394,395],"viewing",{"_361":371,"_372":373,"_210":374,"_375":376},"sessions",[359,360],"articles",[241,242,243,244,245,246,247,248,249],"departments",[235],{"_231":232,"_233":234},"location",{"_220":164,"_221":222,"_223":224,"_225":226,"_227":228,"_229":230},"totalLotCount",294,"auctionMobilityAuctionRowId","1-C5ERRW","auctionUrl","https://www.phillips.com/auction/HK080226","auctionResultsFile","https://dist.phillips.com/content/web/auction-results/auctionResultsFile_HK080226.pdf","countryName","countryCode","HK","line1","G/F, WKCDA Tower","line2","West Kowloon Cultural District","line3","No. 8 Austin Road West","city","Kowloon","currencyCode","HKD","currencySign","HK$",{"_236":237,"_238":239,"_240":239},"departmentId",12,"departmentName","Watches","departmentDisplayName",{"_250":349,"_252":239,"_253":350,"_50":351,"_256":352,"_258":353,"_260":354,"_264":265,"_266":267,"_268":355,"_78":267,"_271":356,"_273":357,"_275":358},{"_78":345,"_271":346,"_273":347,"_275":348},{"_250":335,"_252":239,"_253":336,"_50":337,"_256":338,"_258":259,"_260":261,"_262":339,"_264":265,"_266":267,"_268":340,"_78":341,"_271":342,"_273":343,"_275":344},{"_250":323,"_252":239,"_253":324,"_50":325,"_256":326,"_258":259,"_260":261,"_262":327,"_264":265,"_266":267,"_268":328,"_78":329,"_271":330,"_273":331,"_275":332},{"_250":312,"_252":239,"_253":313,"_50":314,"_256":315,"_258":259,"_260":261,"_262":316,"_264":265,"_266":267,"_268":317,"_78":318,"_271":319,"_273":320,"_275":321},{"_250":301,"_252":239,"_253":302,"_50":303,"_256":304,"_258":259,"_260":261,"_262":305,"_264":265,"_266":267,"_268":306,"_78":307,"_271":308,"_273":309,"_275":310},{"_250":289,"_252":239,"_253":290,"_50":291,"_256":292,"_258":293,"_260":261,"_262":294,"_264":265,"_266":267,"_268":295,"_78":296,"_271":297,"_273":298,"_275":299},{"_250":278,"_252":239,"_253":279,"_50":280,"_256":281,"_258":282,"_260":261,"_262":283,"_264":265,"_266":267,"_268":284,"_78":285,"_271":286,"_273":287,"_275":288},{"_250":251,"_252":239,"_253":254,"_50":255,"_256":257,"_258":259,"_260":261,"_262":263,"_264":265,"_266":267,"_268":269,"_78":270,"_271":272,"_273":274,"_275":276},"coverUrl","https://flockler.com/thumbs/sites/889/0-ac6bce92-ebbf-432b-9191-012ec43a1503_s600x0.jpg","section","summary","Introduced in 1962, the Ref. 3448 was Patek Philippe’s first self-winding perpetual calendar wristwatch. This rare 18k white gold example shows why the “Padellone” remains one of the manufacture’s most admired designs.","The 'Padellone' in 18k White Gold: Patek Philippe's Landmark Perpetual Calendar Ref. 3448","body","

The Phillips Hong Kong Watch Auction: XXII takes place on 30 & 31 May 2026, at our West Kowloon headquarters. The auction includes more than 250 of the world's finest watches – and though we are loath to boast, we truly think it's one of the best catalogues we've ever put together. We'll be highlighting a number of the most interesting lots and stories from the sale over the next month, including the 18k white gold Patek Philippe Ref. 3448 featured below.

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– By Logan Baker

\n\n

When Patek Philippe introduced the Ref. 3448 in 1962, the brand did something revolutionary.

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The Geneva manufacture had produced perpetual calendars for decades, but they had always relied on manual-wind movements. With the Ref. 3448, Patek Philippe combined the practicality of automatic winding with one of watchmaking’s most demanding complications, creating the first self-winding perpetual calendar wristwatch in the brand’s history.

\n\n

That achievement alone would make the reference historically significant. But what has cemented the Ref. 3448’s reputation among collectors is how completely the watch succeeds on every other level. It is innovative without being showy, technically sophisticated yet visually restrained, and designed with a level of clarity that has aged remarkably well.

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At just over 37mm in diameter, the watch was large for its time, though it never feels oversized. The Italian nickname “Padellone,” meaning "large frying pan," hints at the boldness of the case, yet the design itself is anything but blunt. The lugs are sharply faceted trapezoids that taper downward toward the wrist, giving the watch a crisp architectural presence while preserving comfort. A polished concave bezel frames the dial with subtle depth, creating a gentle transition between case and crystal.

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The opaline dial features slender faceted baton markers, with small pyramidal hour markers at five and seven o’clock, adding just enough variation to keep the layout lively. Around the perimeter, tiny pearl-like minute markers are engraved into the dial plate. Dauphine hands complete the composition, their crisp facets catching the light without distracting from the calendar indications.

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The perpetual calendar display itself is elegantly restrained. Day and month appear through twin apertures beneath 12 o’clock, while the date and moon-phase occupy the subdial at six. Everything is balanced, symmetrical, and easy to read. It is the sort of dial that feels effortless, though the harmony clearly reflects careful design.

\n\n

Over the course of its production, the Ref. 3448 appeared with several dial variations that collectors use today to identify different series.

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The earliest watches, produced from 1962 to around 1966, feature enameled baton-style minute divisions, a detail prized for its crisp appearance and labor-intensive execution. By the mid-1960s, Patek Philippe transitioned to the second series, which introduced distinctive “beady” or pearl-style minute markers and a smaller date ring.

\n\n

The third series, appearing in the early 1970s, retained the pearl-style minute track but enlarged the date ring for improved legibility. Late-production examples form the fourth series, in which the baton-style minute divisions returned, now printed rather than enameled. While each variation reflects small aesthetic and technical evolutions, collectors tend to favor the earliest series for their particularly refined details and period charm.

\n\n

\n\n

Inside the case beats one of Patek Philippe’s great mid-century movements. The calibre 27-460 Q builds upon the manufacture’s second self-winding movement, upgraded with a perpetual calendar mechanism. Like the celebrated automatic calibre used in the Ref. 2526, it features an 18k gold rotor that winds the movement efficiently during everyday wear.

\n\n

The finishing is exemplary even by Patek standards of the era, with elegant bridges and carefully executed decoration that reflect the brand’s uncompromising approach to movement construction. Of course, the movement remains hidden behind a solid caseback, as was customary in the 1960s.

\n\n

While the Ref. 3448 was produced in 18k yellow gold, 18k pink gold, and platinum, the 18k white gold examples occupy a special place in the model's history.

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Out of the approximately 586 watches made across the entire production run, fewer than a quarter are believed to have been cased in 18k white gold. The metal subtly transforms the watch’s personality. Where 18k yellow gold emphasizes its mid-century warmth, 18k white gold introduces a cooler, more discreet character that aligns perfectly with the design’s architectural clarity.

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\n\n

Collectors often discuss the Ref. 3448 in the same breath as other mid-century Patek milestones such as the Ref. 2499. Yet the two watches feel like products of entirely different eras. The Ref. 2497 and Ref. 2499 belong to an earlier generation of perpetual calendars rooted in classical case forms.

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The Ref. 3448, by contrast, looks forward. Its clean geometry, integrated crown, and larger proportions feel almost futuristic for the early 1960s. That sense of modernity remains part of its enduring charm. Place a Ref. 3448 beside contemporary Patek Philippe watches today, and it would not feel out of place. The proportions remain balanced, the dial clear, and the design language unmistakably timeless.

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For many collectors, that combination of attributes places the reference among the most compelling wristwatches ever produced. It is historically important as Patek Philippe’s first automatic perpetual calendar wristwatch. It is mechanically sophisticated, powered by one of the manufacture’s great mid-century movements. And above all, it is beautifully designed.

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The 18k white gold examples add an additional layer of rarity and quiet elegance to the equation. In a field already defined by exceptional watches, they stand out as some of the most refined expressions of the legendary Ref. 3448.

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You can learn more, place a bid, and view the entire Hong Kong Watch Auction: XXII catalogue right here.

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About Phillips In Association With Bacs & Russo

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The team of specialists at PHILLIPS Watches is dedicated to an uncompromised approach to quality, transparency, and client service. Phillips in Association with Bacs & Russo holds the world record for the most successful watch auction, with its Geneva Watch Auction: XIV having realized $74.5 million in 2021. Over the course of 2021 and 2022, the company sold 100% of the watches offered, a first in the industry, resulting in the highest annual total in history across all the auction houses at $227 million.

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Discover More from PHILLIPS >

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About Logan Baker

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Logan has spent the past ten years covering the watch industry from every angle. He joined Phillips in Association with Bacs & Russo in early 2023 as Senior Editorial Manager, after previous roles at Hodinkee and WatchTime. Originally from Texas, he spent a decade in New York and now calls Geneva home.

\n","publishDate","2026-05-11T00:00:00.000000Z","authorCredit","Logan Baker","tags",[277],"coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/167193161/patek-philippe-3448-white-gold-perpetual-calendar-phillips-hong-kong-may-2026",8,"auctionEditorialID",9449,"editorialID",5259,"flocklerID",167193161,"patek-philippe","https://flockler.com/thumbs/sites/889/0-14a26ee5-ee85-40ef-ba19-eebfff02e12f_s600x0.jpg","A bespoke perpetual calendar chronograph with a monogrammed dial, black-and-pink-gold configuration, and preserved in double factory-sealed condition.","An 'MSO' Commission: The Unique, Double-Sealed Patek Philippe Ref. 5970R-017","

The Phillips Hong Kong Watch Auction: XXII takes place on 30 & 31 May 2026, at our West Kowloon headquarters. The auction includes more than 250 of the world's finest watches – and though we are loath to boast, we truly think it's one of the best catalogues we've ever put together. We'll be highlighting a number of the most interesting lots and stories from the sale over the next month, including the unique, double-sealed Patek Philippe Ref. 5970R-017 featured below.

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– By Logan Baker

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Produced from 2004 until 2011, the Patek Philippe Ref. 5970 marked the final chapter of an era for the manufacture’s most celebrated complication, pairing the classic perpetual calendar chronograph layout with the legendary Lemania-based calibre CH 27-70 Q.

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In many ways, the Ref. 5970 stands at a crossroads. It is modern enough to feel contemporary on the wrist, yet mechanically and stylistically rooted in the lineage that stretches back through references like the 3970, 2499, and ultimately the legendary 1518.

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For collectors who follow the subtle hierarchies of modern Patek Philippe production, the standard versions of the Ref. 5970 are already deeply desirable. The reference was offered in four precious metals: 18k pink, white, and yellow gold examples, typically paired with silvered dials, while the platinum version featured a black dial. Yet beyond these known production models lies a much smaller world of special commissions and post-production deliveries reserved for a handful of the brand’s most important clients.

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The present Ref. 5970R-017 belongs firmly in that rarefied category.

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Commissioned by the influential American collector Michael Ovitz, this watch is a unique, highly personal interpretation of the model.

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Ovitz, the co-founder of Creative Artists Agency (CAA) and one-time president of The Walt Disney Company, is well known in collecting circles not only for his extraordinary art collection but also for his long-standing relationship with Patek Philippe.

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Over the past two decades, a number of watches ordered by Ovitz have surfaced at auction, each revealing subtle but distinctive modifications to the original design. The most recognizable hallmark of these commissions is the discreet monogram “MSO,” placed at six o’clock and representing Michael Steven Ovitz.

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Like the famous personalized commissions made for collectors such as Henry Graves Jr., James Ward Packard, and J.B. Champion in earlier eras, these monogrammed dials occupy a special place in Patek Philippe lore. They represent a level of access to the manufacture that remains unattainable for nearly all collectors.

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In the case of this Ref. 5970R-017, the monogram is just the beginning.

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The dial itself departs meaningfully from the standard production format. Executed in black, it immediately recalls the aesthetic of the platinum Ref. 5970 while offering a striking contrast against the warmth of the pink gold case.

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At 12 o’clock sits a Breguet numeral rather than the Roman “XII” seen on some other Ovitz commissions. The remainder of the dial is marked by applied spherical hour markers, while a double railway track structure organizes the chronograph and minute scales.

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Even more unusual is the presence of luminous elements throughout the display. The inner minute track features luminous markers, while the feuille hands, specifically noted on the Certificate of Origin, are themselves luminous. This subtle detail adds an unexpected layer of functionality to what is otherwise a classically styled design.

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Together, these elements produce a dial configuration that feels both familiar and slightly unconventional, as if the traditional Patek Philippe perpetual calendar chronograph had been gently reinterpreted through the lens of a particularly discerning collector.

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Inside, the watch houses the calibre CH 27-70 Q, the final Lemania-based perpetual calendar chronograph movement used by Patek Philippe. Derived from the legendary Lemania 2310 architecture, the movement was extensively refined by Patek Philippe, featuring a free-sprung Gyromax balance and numerous chronograph upgrades.

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For many enthusiasts, this calibre represents the culmination of decades of traditional chronograph construction before the brand transitioned to its fully in-house calibre CH 29-535.

\n\n

Beyond its mechanical and aesthetic interest, the present watch carries one more remarkable distinction. It remains double-factory sealed, preserved exactly as it left Patek Philippe in April 2011.

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For a watch of this caliber, in such untouched condition, it is extraordinarily rare.

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It means the next owner will effectively be the first to experience the watch outside its original packaging. That sense of discovery feels especially fitting for a piece like this.

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The Ref. 5970 has already secured its place among the defining Patek Philippe references of the 21st century. Yet when combined with a bespoke dial, the Ovitz monogram, and pristine sealed condition, the watch becomes something else entirely.

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In that sense, the present Ref. 5970R-017 is not simply another example of an already great reference. It is a personal commission, a moment of collaboration between Patek Philippe and one of its most prominent patrons, preserved exactly as it left the manufacture more than a decade ago.

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You can learn more, place a bid, and view the entire Hong Kong Watch Auction: XXII catalogue right here.

\n\n

About Phillips In Association With Bacs & Russo

\n\n

Discover More from PHILLIPS >

\n\n

About Logan Baker

\n\n

\n","2026-05-10T00:00:00.000000Z",[277],"https://www.phillips.com/article/167134386/patek-philippe-5970r-017-unique-michael-ovitz-mso-phillips-hong-kong-may-2026",7,9448,5240,167134386,"https://flockler.com/thumbs/sites/889/0-ef92acdc-4539-4acd-89b3-89531921aba7_s600x0.jpg","With its vivid red dial and a production of just five pieces, this boutique commemorative Tourbillon Souverain is among the rarest modern Journe watches. The present watch, the only known example in 38mm, will appear at the Phillips Hong Kong Watch Auction: XXII.","The Beijing Edition: An Ultra-Rare F.P. Journe Tourbillon Souverain 38mm 'Chine 2010'","

The Phillips Hong Kong Watch Auction: XXII takes place on 30 & 31 May 2026, at our West Kowloon headquarters. The auction includes more than 250 of the world's finest watches – and though we are loath to boast, we truly think it's one of the best catalogues we've ever put together. We'll be highlighting a number of the most interesting lots and stories from the sale over the next month, including the ultra-rare F.P. Journe Tourbillon Souverain made for the opening of the brand's Beijing boutique.

\n\n

– By Logan Baker

\n\n

Few watchmakers command the kind of attention that surrounds François-Paul Journe today.

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In the span of three decades, the Marseille-born, Geneva-based master watchmaker has transformed what began as a fiercely independent project into one of the most coveted names in modern horology.

\n\n

His watches inspire scholarship, devotion, and increasingly spectacular auction results. Production remains intentionally small, hovering around 1,000 watches per year, and that scarcity has only intensified demand among collectors who see Journe’s work as one of the defining achievements of contemporary watchmaking.

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At the heart of this story sits the F.P. Journe Tourbillon Souverain. First introduced in the late 1990s and later refined into the Tourbillon Nouveau generation, the model embodies the philosophical core of Journe’s approach to watchmaking. The movement pairs a one-minute tourbillon with a remontoire d’égalité, a constant-force mechanism designed to deliver more consistent power to the escapement. It is both technically sophisticated and intellectually satisfying, the sort of solution that reveals Journe’s deep engagement with historical horology while remaining unmistakably modern.

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By 2003, the introduction of the TN generation marked a significant evolution for the model. The new calibre 1403 replaced earlier brass movements with plates and bridges crafted in 18k pink gold, while integrating a deadbeat seconds mechanism directly within the remontoire system. The result was a watch that combined visual drama with mechanical ingenuity. Over the roughly 15 years that followed, the Tourbillon Nouveau would remain one of the brand’s defining references, though production numbers remained extremely small by any measure.

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Within this already rare family, boutique editions occupy a particularly special place. As F.P. Journe expanded its global presence during the 2000s, special watches were occasionally created to mark the opening of new salons or important milestones. These pieces were produced in minuscule numbers and often featured unusual dial treatments or subtle visual signatures tied to a particular city or moment in the brand’s history.

\n\n

The watch offered here belongs squarely in that tradition. Created in 2010 to celebrate the opening of the Beijing boutique, the Tourbillon Souverain “Chine 2010” stands apart immediately thanks to its striking red lacquer dial. The color was not chosen at random. Instead, it references China’s national flag, with five stars replacing the standard hour markers of the power-reserve indication. The result is bold yet thoughtfully executed, transforming one of Journe’s most recognizable dial layouts into something distinctly tied to the occasion it commemorates.

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Only five examples of the Chine 2010 edition were produced in total, making it one of the rarest variations of the Tourbillon Souverain ever created. Even within that tiny production run, case sizes varied. Two examples known publicly have appeared in 40mm cases, while the present watch is believed to be the only example executed in the brand’s original 38mm format.

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To our knowledge, only three examples from the limited edition of five have ever appeared on the market. Two were cased in 40mm, while just one was produced in the more classically proportioned 38mm diameter seen here. Phillips had the pleasure of offering the first publicly known example at the Hong Kong Watch Auction: XIV, in May 2022, where it achieved a remarkable HKD $8.72 million, underscoring the extraordinary demand for these boutique commemorative pieces.

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For seasoned collectors, the case size alone carries real significance. Early Journe watches were frequently produced in 38mm cases, a format many enthusiasts feel best reflects the aesthetic proportions of the brand’s formative years. The size eventually disappeared from the catalogue as tastes shifted toward larger watches, which only increased the desirability of earlier pieces that preserved those classic dimensions.

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The example appearing in the upcoming Phillips Hong Kong Watch Auction: XXII, therefore, stands apart on several levels.

\n\n

It is one of just five Chine 2010 Tourbillon Souverains ever produced, the only known example in 38mm, and only the third to surface publicly. The rarity alone would be notable. Combined with the distinctive dial and the historical moment it represents in Journe’s global expansion, it becomes something far more meaningful.

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In a collecting landscape increasingly defined by scholarship and nuance, watches like this capture the spirit of modern independent watchmaking. They reflect not just mechanical ingenuity but also the narrative of a brand that has grown from a single watchmaker’s vision into one of the most influential forces in contemporary horology.

\n\n

You can learn more, place a bid, and view the entire Hong Kong Watch Auction: XXII catalogue right here.

\n\n

About Phillips In Association With Bacs & Russo

\n\n

Discover More from PHILLIPS >

\n\n

About Logan Baker

\n\n

\n","2026-05-11T01:00:00.000000Z",[300],"https://www.phillips.com/article/167133202/fp-journe-bejing-boutique-tourbillon-souverain-chine-2010-red-dial-38mm-phillips-hong-kong-may-2026",6,9447,5242,167133202,"FP-Journe","https://flockler.com/thumbs/sites/889/0-6cac6983-d863-4d06-a1b4-c0566348b4db_s600x0.jpg","A rare, fully handmade wristwatch from the atelier of Oscillon, the L’Instant de Vérité features a proprietary Tensator constant-torque spring and a distinctive hourglass-shaped balance. The present example will make the model's auction debut at the Phillips Hong Kong Watch Auction: XXII.","In-Depth: Oscillon, L’instant de Vérité, and the Tensator Constant-Force Spring","

The Phillips Hong Kong Watch Auction: XXII takes place on 30 & 31 May 2026, at our West Kowloon headquarters. The auction includes more than 250 of the world's finest watches – and though we are loath to boast, we truly think it's one of the best catalogues we've ever put together. We'll be highlighting a number of the most interesting lots and stories from the sale over the next month, including the auction debut for the handmade Oscillon L’instant de Vérité.

\n\n

– By Logan Baker

\n\n

In the world of independent watchmaking, the phrase “fully handmade” still carries real weight. Not because it is romantic marketing language, but because very few watchmakers are willing to commit to the idea in its purest form. It means slower work, greater risk of failure, and a level of patience that sits uncomfortably in an industry increasingly defined by CNC machining and scalable production.

\n\n

Yet a small number of watchmakers still insist on doing things the hard way. Among them are Dominique Buser and Cyrano Devanthey, the founders of the Swiss atelier Oscillon. Their watch, L’Instant de Vérité, is a rare example of what happens when traditional watchmaking methods meet highly original mechanical thinking.

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The present example, numbered 05 and produced around 2022, will be offered at the upcoming Phillips Hong Kong Watch Auction: XXII, marking the first appearance for the Oscillon L’Instant de Vérité at auction. Cased in 18k white gold and measuring 38mm in diameter, it is part of a special edition of just four pieces. Like every Oscillon watch, it was constructed almost entirely by hand in the brand’s workshop in Buchs, Switzerland, with only the crystal, jewels, and gaskets sourced externally.

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To understand how Oscillon arrived here, it helps to look at the long friendship between its founders. Devanthey and Buser met in the early 1990s at watchmaking school in Solothurn. They bonded over a shared fascination with antique tools and manually operated machines, the kind that defined watchmaking long before CNC milling became standard.

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Their careers eventually diverged. Devanthey went on to work at Omega, where he spent more than a decade training watchmakers and leading work in the tourbillon workshop. Buser, meanwhile, pursued engineering and concept development, eventually collaborating with Felix Baumgartner on the groundbreaking Opus V project for Urwerk and Harry Winston.

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The two eventually reunited at Urwerk’s R&D atelier in Buchs. Their shared interests had not changed much since watchmaking school. They were still fascinated by historical techniques and traditional machinery. What had started years earlier as a half-serious conversation about whether a modern watch could still be produced entirely with traditional equipment slowly evolved into a real project.

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In 2012, that idea became Oscillon.

\n\n

“We are not against CNC machines,” Devanthey explained to me a few years ago. “We love the possibilities of CNC machines, and we use them every day when we do engineering work for Urwerk. But Oscillon is about traditional watchmaking. When we engineer a component at Oscillon, we already know which machine it will be produced on afterward. Every machine has its limitations in terms of shape and possibility, so you design accordingly.”

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That philosophy has also led the pair into some of the most important preservation efforts in modern watchmaking. Buser and Devanthey played a central role in the development of the Naissance d'une Montre 2 project.

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Working in collaboration with Greubel Forsey and Urwerk, the project was designed to transmit traditional watchmaking techniques to a new generation of watchmakers through the mentorship of master craftsmen. Like Oscillon’s own work, the project emphasized the importance of traditional tools and hand fabrication in an era increasingly dominated by industrial production.

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The ideas explored in those projects are reflected clearly in Oscillon’s own timepieces.

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The pair introduced their first wristwatch, L’Instant de Vérité – or “the moment of truth” – in 2016. At first glance, the watch appears almost restrained. The dial layout is classical, with a three-hand display and a torque indicator positioned discreetly on the surface.

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The real story lies on the reverse side.

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Turn the watch over, and the movement architecture reveals a series of unusual choices. Two large bridges dominate the layout. One secures the balance assembly, while the other supports the mainspring system. Both components, however, depart radically from conventional watchmaking practice.

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The balance wheel, for instance, is not actually a wheel.

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Instead of the familiar circular structure used in nearly every mechanical watch, Oscillon developed a proprietary free-sprung balance shaped like an hourglass or bowtie, with opposing inertia screws positioned along its arms.

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“The idea was to make a different shape to better show the oscillations of the balance,” Devanthey says. “If you have a round balance wheel, you see the oscillation mostly on the arms of the wheel. With a non-round balance, you are much more aware of the oscillation.”

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This distinctive form required careful engineering. Air turbulence can become a real concern when a balance moves through space in an unconventional shape. The Oscillon movement, therefore, leaves generous open space around the balance, allowing it to breathe and maintain stable amplitude.

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The second major innovation is even more unusual. Rather than using a conventional mainspring system, Oscillon developed what it calls the Tensator constant-torque spring. The system relies on two barrels connected by an extra-long, continuous S-shaped spring that is wound using a planetary gear arrangement.

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“What we have is on one barrel, the spring is completely enrolled like a little snail, then we connect it to the other drum in an S-shape,” Devanthey explains. “It can then be wound up to the other barrel, similar to a chain-and-fusée. The spring wants to return to its initial shape, so it constantly pulls on the second barrel, providing constant torque.”

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The advantage of this architecture is that the torque delivered to the gear train remains virtually unchanged as the spring unwinds. Traditional mainsprings deliver power that gradually declines over the course of their running autonomy. By contrast, the Tensator system maintains stable energy output, helping the balance maintain a consistent oscillation amplitude.

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Interestingly, Tensator springs are not unique to watchmaking. They appear in many everyday mechanical systems, including modern seatbelt mechanisms, where constant force is required. Devanthey and Buser were inspired in part by a table clock built by the British horologist Anthony Randall that used a much larger version of the same principle.

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Adapting the concept for a wristwatch proved significantly more difficult. The spring had to be studied, cut, and shaped over several years before the pair found a geometry that worked reliably on a miniature scale.

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The effort was worthwhile. The system delivers roughly 80 hours of power reserve while maintaining remarkably stable torque throughout the entire running period.

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These technical solutions would already be impressive in an industrially produced watch. In the case of Oscillon, they are executed entirely by hand, using traditional machines and manual finishing techniques. Each watch emerges slowly from the Buchs workshop through a process that demands extraordinary patience.

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Production reflects that reality. Oscillon produces only a handful of watches each year, typically no more than five.

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That scarcity helps explain why the appearance of L’Instant de Vérité at auction is such a notable moment. For collectors interested in the most intellectually adventurous corners of modern horology, Oscillon represents something increasingly rare: a watch conceived from first principles, built slowly and deliberately by two watchmakers who remain deeply committed to the craft.

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The name L’Instant de Vérité translates to “the moment of truth,” a phrase that captures the spirit of the project rather well. In watchmaking, as in many disciplines, the moment of truth arrives when theory meets metal. For Oscillon, that moment comes every time a handmade component finally takes its place within the movement.

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And in a world increasingly defined by industrial perfection, that human moment remains one of the most compelling aspects of independent watchmaking.

\n\n

You can learn more, place a bid, and view the entire Hong Kong Watch Auction: XXII catalogue right here.

\n\n

About Phillips In Association With Bacs & Russo

\n\n

Discover More from PHILLIPS >

\n\n

About Logan Baker

\n\n

\n",[311],"https://www.phillips.com/article/167133862/oscillon-l-instant-de-verite-cyrano-devanthey-dominique-buser-phillips-auction-may-2026-hong-kong",5,9446,5241,167133862,"oscillon","https://flockler.com/thumbs/sites/889/0-lot-877-df9c27c4-d77f-456c-b214-ce1c8f35e1e7_s600x0.jpg","While most Simplicities follow a strict aesthetic formula, a handful of exceptional pieces reveal Philippe Dufour’s quieter dial experiments – culminating in a newly surfaced steel example at the Phillips Hong Kong Watch Auction: XXII.","The Rare Dial Variations of the Philippe Dufour Simplicity","

The Phillips Hong Kong Watch Auction: XXII takes place on 30 & 31 May 2026, at our West Kowloon headquarters. The auction includes more than 250 of the world's finest watches – and though we are loath to boast, we truly think it's one of the best catalogues we've ever put together. We'll be highlighting a number of the most interesting lots and stories from the sale over the next month, including the possibly unique Philippe Dufour Simplicity featured below.

\n\n

– By Logan Baker

\n\n

For more than four decades, Philippe Dufour has embodied a near-mythical ideal of traditional Swiss craftsmanship. His watches are not simply assembled but painstakingly shaped by hand at the bench, each component finished to standards that have become a benchmark for the entire industry.

\n\n

Within that small body of work, the Philippe Dufour Simplicity stands as his purest statement.

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\n\n

Introduced in 2000, the Simplicity was conceived as an homage to the classic Swiss wristwatch. No grand complications. No theatrical mechanics. Just three hands, a manual-wind movement, and finishing executed at a level that many collectors still consider the pinnacle of modern watchmaking.

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Originally planned as a series of 100 pieces, demand from collectors quickly outpaced expectations. Production ultimately reached just over 200 watches, completed slowly over more than two decades.

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On paper, the Simplicity appears restrained. In practice, it is endlessly fascinating. Part of that fascination comes from the subtle variations that appeared throughout production. While most collectors know the standard configurations well, the deeper story of the Simplicity lies in the small number of unusual dials and special commissions that have surfaced over the years.

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These rare deviations offer a glimpse into the quiet flexibility of Dufour’s approach. Though the watch itself remained constant, the dial occasionally became a canvas for personal expression.

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Most Simplicity watches follow a recognizable formula. Cases were offered in 18k pink gold, white gold, platinum, and, rarely, steel, typically measuring 34mm or 37mm in diameter. Dials were usually either white lacquer or hand-guilloché, with applied Arabic numerals at 3, 9, and 12 paired with baton markers for the remaining hours.

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But every so often, something different emerged.

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Collectors might recall the unusual examples delivered to a group of Chinese clients around 2015.

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One featured a grey guilloché dial with pink-gold hands and markers in an 18k white-gold case, an unexpected contrast in a watch normally defined by strict visual harmony. Another from the same group featured a tiny red heart printed discreetly below 12 o’clock, transforming the otherwise austere design into something quietly sentimental.

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Japan, which has long been central to Dufour’s collector community, also produced several remarkable pieces. A particularly charming example celebrated the 100th anniversary of the Kobe retailer Kamine, featuring a Breguet numeral dial signed “Kamine 100th” and marked “Unique Piece.” It stands as a reminder of the profound relationship between the watchmaker and his early supporters in Japan.

\n\n

Some of the most intriguing Simplicities, however, have emerged only in recent years through public auctions, offering collectors a rare chance to study the edges of the model’s history.

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One of the most fascinating was the “Prototype 000,” a watch dating to circa 2000 and one of three prototype Simplicities that Philippe Dufour presented at the Basel fair when introducing the model.

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While two were made in 18k white gold with guilloché dials, the third – executed in 18k pink gold with a white lacquer dial – became the only prototype in that configuration.

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These early watches differed mechanically from production Simplicities, featuring a Gyromax balance rather than the later screw-regulated balance, and dials signed simply “Swiss” instead of including the dialmaker’s name, Metalem.

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Another remarkable watch arrived in 2020 to mark the model’s 20th anniversary. Known as the Simplicity 20th Anniversary No. 00/20, the watch featured a subtle yet meaningful departure from tradition: the initials “PD” placed at 12 o’clock in place of the standard numeral.

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The piece served as a symbolic bridge between the original production run and the commemorative anniversary series, and when it appeared at the Phillips Retrospective: 2000-2020 auction that same year, it quickly became one of the defining Simplicity results of the modern auction era.

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The Simplicity No. 204, a 37mm 18k white-gold watch fitted with a grey guilloché dial, pink-gold hands, and full Breguet numerals, combined the classical architecture of the model with a dial configuration rarely seen before.

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When it appeared at Phillips Geneva Watch Auction: XVI in November 2022, collectors responded enthusiastically, confirming just how strongly the market values these subtle but meaningful variations.

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These watches reveal something essential about the Simplicity. While the model itself adheres to a strict visual language, Dufour occasionally allowed small departures that reflect the individuality of a commission or the significance of a particular moment.

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Even more unexpected are the handful of steel Simplicities produced outside the original series.

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Steel cases have long held a special allure among collectors of traditionally precious-metal watches, and Dufour’s steel examples rank among the rarest of all.

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One of the most famous is the unique example with Eastern-Arabic numerals and a vintage-inspired gilt dial, delivered in 2020 to commemorate the wedding of Simon Sfeir, son of Dufour’s business partner, Claude Sfeir. Instead of a serial number, the movement plate bears the inscription “SCSfeir,” emphasizing the watch's deeply personal nature.

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Against this backdrop of rare variations, the present Simplicity offered in the Phillips Hong Kong Watch Auction: XXII occupies a particularly compelling place.

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At first glance, it immediately feels familiar. The proportions are unmistakable: a 37mm case paired with Dufour’s signature guilloché dial and elegant small-seconds display. Yet a closer look reveals something entirely unexpected. The case is crafted in stainless steel.

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\n\n

Its dial is equally distinctive. Rendered in slate-grey guilloché, it departs from the standard layout, featuring full Breguet numerals rather than the usual combination of Arabic markers and batons. Even more intriguing is the pairing of warm 18k pink-gold hands and numerals with the cool steel case, a subtle but striking contrast rarely seen on the Simplicity.

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According to current scholarship, this example represents the only known steel Simplicity in this configuration to appear publicly on the market.

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The result is unmistakably a Simplicity, yet one with a slightly different voice. That tension between familiarity and individuality is part of what makes these special dial variations so captivating.

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The Simplicity was always designed to be an exercise in restraint. But within that restraint, Dufour occasionally allowed small departures that reveal the deeply human character of his work.

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Each of these watches reminds us that the Simplicity was never an industrial product. Every example passed through the hands of its maker.

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Every dial, every component, every finished edge carries the imprint of a single watchmaker working alone in the Vallée de Joux. In that sense, these rare dial variations feel less like experiments and more like personal conversations between Dufour and the collectors who believed in him.

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The present watch captures that spirit perfectly. It reflects the same philosophy that defines the Simplicity itself: that true greatness in watchmaking often lies not in complexity, but in the mastery of the essentials.

\n\n

You can learn more, place a bid, and view the entire Hong Kong Watch Auction: XXII catalogue right here.

\n\n

About Phillips In Association With Bacs & Russo

\n\n

Discover More from PHILLIPS >

\n\n

About Logan Baker

\n\n

\n",[322],"https://www.phillips.com/article/167135899/philippe-dufour-simplicity-rare-dial-variations-steel-phillips-hong-kong-may-2026",4,9445,5239,167135899,"philippe-dufour","https://flockler.com/thumbs/sites/889/article-lead-image-enhancement-098c9166-269d-4d74-9e40-3acffeb05cf8_s600x0.jpg","Offered in the Hong Kong Watch Auction: XXII, these rare contemporary pieces highlight Cartier’s ability to move seamlessly between avant-garde watchmaking and high jewelry.","Two Sides of Cartier: A Gem-Set Crash Squelette and Libre Baignoire Allongée","

The Phillips Hong Kong Watch Auction: XXII takes place on 30 & 31 May 2026, at our West Kowloon headquarters. The auction includes more than 250 of the world's finest watches – and though we are loath to boast, we truly think it's one of the best catalogues we've ever put together. We'll be highlighting a number of the most interesting lots and stories from the sale over the next month, including the two gorgeous gem-set Cartier wristwatches featured below.

\n\n

– By Logan Baker

\n\n

Cartier occupies a unique place in watchmaking.

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Few brands move as comfortably between the worlds of high jewelry and serious horology, and even fewer manage to make the combination feel natural rather than forced.

\n\n

At its best, Cartier doesn’t simply decorate watches with gemstones. It treats the entire object, case, movement, dial, and stones alike, as part of a single sculptural idea. Two contemporary pieces offered in the upcoming Phillips Hong Kong Watch Auction: XXII illustrate that philosophy particularly well.

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On paper they belong to different families. In reality they speak the same language: bold forms, technical ambition, and the unmistakable sense that Cartier approaches watchmaking through the eye of a designer.

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The first is a remarkable example of the Cartier Crash, the Squelette Ref. CRHPI01088, created around 2017 in a platinum case set with diamonds and rubies.

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\n\n

The Crash hardly needs an introduction. Since its debut in London in 1967, the distorted case has become one of the most recognizable shapes in modern watch design, somewhere between surrealist art object and wristwatch. What began as a countercultural curiosity has, over the decades, become a true icon of the brand.

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Cartier reimagined the Crash in 2015 with the introduction of the Crash Squelette, a watch that pushed the concept further by giving the model a shaped movement built specifically to follow the warped geometry of the case.

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Developed during the tenure of Carole Forestier-Kasapi, who led Cartier’s movement creation department for 15 years, the calibre 9618MC is both technically impressive and visually striking. Its skeletonized bridges stretch outward to form elongated Roman numerals, turning the movement's architecture into the dial.

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The asymmetry makes the engineering even more compelling. Rather than a conventional round layout, the gear train runs vertically through the twisting case, culminating with the balance wheel positioned dramatically toward the lower tip. While skeleton watches are common in fine watchmaking, skeleton watches with irregularly shaped movements are extremely rare.

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The present watch takes that foundation and adds a distinctly Cartier flourish. The platinum case is framed by four rows of graduated diamonds and rubies, transforming the Crash’s already dramatic silhouette into something even more theatrical. Numbered “1” of the series and preserved unworn by its original owner, it represents the first example of this gem-set Crash Squelette configuration to appear publicly at auction.

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If the Crash embodies Cartier’s surrealist instincts, the Cartier Libre Baignoire Allongée Ref. WJLI0018, produced in 2019, represents another side of the brand's creative identity.

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The Baignoire is one of Cartier’s most enduring designs, dating back to the early 20th century. Its elongated oval case is elegant but unmistakable, a shape that has remained remarkably adaptable through generations of reinterpretation.

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This particular example comes from Cartier’s Libre collection, a series that gives the brand’s designers unusually free rein to experiment with form and gemstone composition. Produced as a limited edition of just 20 pieces, the watch is lavishly crafted in 18k white gold, featuring a pavé diamond-set dial and an intricate arrangement of deep blue sapphires across the case.

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The setting is particularly distinctive. Rather than a symmetrical frame of stones, the sapphires spread across the case in irregular, flowing clusters that almost resemble organic forms. Cartier’s designers have long excelled at this kind of gem-setting, where the stones feel less like decoration and more like part of the watch’s visual rhythm.

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Numbered 9 of the limited series and preserved in like-new condition with its full accessories, the Libre Baignoire Allongée is also making its first appearance at auction here.

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These two pieces capture the breadth of Cartier’s contemporary creativity. One pushes technical watchmaking into sculptural territory. The other explores the house’s unmatched mastery of jewelry design.

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Both, in their own way, demonstrate why Cartier remains one of the few brands able to treat a wristwatch as both mechanical instrument and work of art.

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You can learn more, place a bid, and view the entire Hong Kong Watch Auction: XXII catalogue right here.

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About Phillips In Association With Bacs & Russo

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Discover More from PHILLIPS >

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About Logan Baker

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\n",[333,334],"https://www.phillips.com/article/167193419/cartier-gem-set-crash-squelette-crhpi01088-libre-baignoire-allongee-wjli0018-phillips-hong-kong-may-2026",3,9444,5258,167193419,"cartier","cartier-crash","https://flockler.com/thumbs/sites/889/0-16c58a9f-9a01-42bc-b921-095f1c5c88f0_s600x0.jpg","During the 1970s, Patek Philippe responded to the Quartz Revolution by embracing bold design and jewelry-like creativity. Two rare ladies' watches in the Phillips Hong Kong Watch Auction: XXII capture the manufacture at its most experimental.","Hidden Gems of the 1970s: Experimental Ladies’ Watches by Patek Philippe","

The Phillips Hong Kong Watch Auction: XXII takes place on 30 & 31 May 2026, at our West Kowloon headquarters. The auction includes more than 250 of the world's finest watches – and though we are loath to boast, we truly think it's one of the best catalogues we've ever put together. We'll be highlighting a number of the most interesting lots and stories from the sale over the next month, including the two incredible 1970s Patek Philippe jewelry watches featured below.

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– By Logan Baker

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The 1970s were a turbulent decade for the Swiss watch industry.

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Quartz technology arrived from Japan with astonishing precision and far lower production costs, forcing even the most traditional manufactures to confront an uncomfortable question: what role did a mechanical watch still play in a modern world?

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For a house like Patek Philippe, the answer was not simply technical. It was creative.

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Rather than abandon mechanical watchmaking, Patek leaned into the qualities quartz could never replicate: craftsmanship, artistry, and the tactile beauty of precious materials. Nowhere is this philosophy clearer than in the remarkable ladies’ watches the brand produced throughout the 1970s.

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Freed from rigid expectations of traditional wristwatch design, Patek Philippe experimented boldly with form, materials, and decorative techniques, producing pieces that sit somewhere between horology and high jewelry.

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Two exceptional examples appearing in the upcoming Phillips Hong Kong Watch Auction: XXII offer a vivid glimpse into this experimental moment.

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The first, a 1971 Ref. 4119/1 in 18k white gold, is one of those creations that could only have emerged during this creative high point. Its architecture is built around a sequence of engraved medallions that form the bracelet, framing a vivid cobalt-blue dial at the center. Each medallion contains fragments of chalcopyrite and shimmering bronze powder, materials rarely encountered in watchmaking but prized for their natural iridescence.

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Chalcopyrite, sometimes called “peacock ore,” displays shifting hues of gold, purple, and blue as light plays across its surface. Working with such mineral fragments presents real challenges for jewelers, which helps explain why the reference appears to have been produced in extremely small numbers.

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Only three 18k yellow-gold examples of the Ref. 4119 are currently known. The present watch, confirmed by its Extract from the Archives and believed to be the only 18k white-gold example to surface publicly, represents a strikingly rare variation. It also reflects the spirit of the era.

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During the early 1970s, designers and jewelers working with Patek Philippe, including figures such as Gilbert Albert and bracelet makers like Georges L’Enfant, explored organic textures and unconventional materials with remarkable freedom. The results often resembled miniature wearable sculptures as much as traditional watches.

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If the Ref. 4119/1 represents the decade's experimental, almost psychedelic side, the circa-1976 Ref. 4291/1 demonstrates that Patek Philippe also pursued a different aesthetic direction: sculptural restraint.

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This elegant square wristwatch embraces the idea of “continuous design,” a defining concept of the period in which the bracelet and case flow seamlessly together as a single architectural object.

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Here, a distinctive 18k yellow-gold bracelet composed of linked frames extends directly from the case, creating a cohesive visual structure around the dial.

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The dial itself is equally evocative. Known among collectors as a “Vermeer” dial, its sunburst surface shifts between deep burgundy and warm brown tones, occasionally revealing hints of purple depending on the light. Over time, the slender applied indices have developed a subtle patina that complements the warmth of the gold case.

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Adding another layer of historical interest, the case was produced by the renowned casemaker Georges Croisier, whose work appears on some of the most important vintage Patek Philippe watches ever made.

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Inside, the watch houses one of the brand’s ultra-thin mechanical movements, a reminder that even in a decade defined by experimentation, Patek Philippe never abandoned its commitment to traditional watchmaking.

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Together, these two watches capture the remarkable creative freedom Patek Philippe embraced during the 1970s. In an era when mechanical watchmaking seemed under existential threat, the manufacture responded not by retreating into conservatism but by exploring new territory.

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This period deserves increased recognition as one of the most imaginative chapters in Patek Philippe's history. Pieces like the Ref. 4119/1 and Ref. 4291/1 are reminders that sometimes the most daring creativity emerges precisely when tradition is forced to reinvent itself.

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You can learn more, place a bid, and view the entire Hong Kong Watch Auction: XXII catalogue right here.

\n\n

About Phillips In Association With Bacs & Russo

\n\n

Discover More from PHILLIPS >

\n\n

About Logan Baker

\n\n

\n",[277],"https://www.phillips.com/article/167136275/patek-philippe-1970s-jewelry-watches-4119-4291-bracelets-phillips-hong-kong-may-2026",2,9443,5238,167136275,1,9442,5304,168659448,"https://flockler.com/thumbs/sites/889/0-acc0ada6-9a29-4223-9eea-78d288ef295c_s600x0.jpg","The Phillips team selects the watches that speak to them most this live sale.","Specialists' Picks: The Hong Kong Watch Auction: XXII","

The Phillips Hong Kong Watch Auction: XXII takes place on 30 & 31 May 2026 at our West Kowloon headquarters and features more than 250 of the world’s finest watches. We asked our specialists to each highlight a pair of watches that particularly resonates with them this sale.

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There is something here for every type of collector: contemporary independents, mid-century classics, gem-set jewelry watches, neo-vintage rarities, artistic métiers d’art creations, and pushing-the-envelope minute repeaters.

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Lot 853: Cartier Ref. CRHPI01088 Crash Squelette No. 1. in Platinum set with Diamonds and Rubies

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Estimate: HK$1,000,000–2,000,000

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Lot 1077: Patek Philippe Ref. 1491 “Ricciolo” in 19k Pink Gold

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Estimate: HK$100,000–200,000

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Gertrude Wong, Head of Sale, Specialist

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My two picks this season sit at opposite ends of the spectrum. One is a vintage watch that flies under the radar and is truly understated. The other is a modern piece – flamboyant, over the top, and guaranteed to catch your attention.

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My guilty pleasure is the Cartier Crash Squelette in platinum. The Cartier Crash remained largely unchanged after its introduction in 1967, but in 2015 Cartier unveiled a far more radical interpretation of the design. The case became larger and bolder, while the dial and movement were skeletonized for the first time, with Roman numerals integrated directly into the bridges.

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This example takes things even further with a bezel set with diamonds and rubies. It has an incredible polka-dot look that feels slightly mischievous and genuinely fun.

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Purchased by the original owner when it was launched in 2017, it has remained in pristine condition ever since. More importantly, this is the first time the model has appeared at auction. Even better, “No. 1” is engraved on the caseback, meaning this is the very first Cartier Crash Squelette created by the brand.

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At the opposite end of the spectrum is the Patek Philippe Ref. 1491 “Ricciolo”, a watch I would happily wear every day.

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“Ricciolo” means “curl” in Italian, referring to the wonderfully curled design of the lugs. This 1945 example stopped me in my tracks when it arrived at the office. The condition is absolutely stunning.

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What makes it especially appealing is the pink-on-pink configuration: a pink gold case paired with a matching pink dial featuring the long Patek Philippe signature. The presence of the original certificate only adds to its appeal.

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Without question, this is one of the finest examples I’ve ever seen, and one of my favorite Patek Philippe watches in the sale this season. I would put it on my wrist any day. Still, if I woke up feeling a little flamboyant one morning, the Crash would definitely be my pick.

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Lot 850: Audemars Piguet Ref. 25563OR.PP.A002XX.01 in 18k Pink Gold

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Estimate: HK$200,000–400,000

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Lot 846: Chopard Ref. 168604-3001 L.U.C Full Strike in Carburized Steel

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Estimate: HK$400,000–800,000

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Alvin Lau, Specialist

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Forget about the Royal Pop for a moment: let me bring you back to the golden age of neo-vintage. My first pick is the Audemars Piguet Ref. 25563, a skeletonized chronograph made in the mid-1990s.

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Here’s the kicker: only 67 pieces were made across the entire reference, and they weren’t even cataloged back then. You couldn’t simply camp outside the boutique hoping to get one; these watches were offered to VIPs only. In this pink gold iteration, only 10 examples were made.

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While most watchmakers used Lemania-based movements, Audemars Piguet went full old school here and fitted the watch with a Valjoux 23. And they didn’t simply drop it in. They fully openworked it, hand engraved it, and finished it with a gorgeous silver-toned livery. It’s 37mm, slim, and works like a dream.

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Next up, my second pick is a modern-day beauty: the Chopard L.U.C Full Strike. In fact, it was Chopard’s first minute repeater, and they really showed everyone how it’s done.

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Most repeaters use steel gongs, but Chopard went full mad scientist here. The gongs and the front crystal were carved from a single block of sapphire, meaning they are literally one piece. Sapphire resonates like crazy, creating one of the richest sounds.

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You’ll also notice there’s no slider on the side; you simply press the button integrated into the crown to activate the repeater. That’s just one of the reasons the watch won the GPHG Aiguille d’Or in 2017.

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This example is also limited to 10 pieces and is cased in carburized steel, which makes it even more durable.

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Lot 844: Haldimann Ref. H11/12 Central Balance in 18k Pink Gold

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Estimate: HK$400,000–800,000

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Lot 831: Audemars Piguet Ref. 56303PT.OO.0789PT.01 Royal Oak in Platinum

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Estimate: HK$190,000–420,000

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Yunyi Xu, Specialist

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I have selected two timepieces for their pure time-only aesthetic. My first pick is the Haldimann Central Balance. This particular example is especially interesting because it is encased in pink gold, whereas most examples were produced in either platinum or steel.

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What I like most about Haldimann watches is the classic vibe they carry, along with the incredible attention to detail and craftsmanship. There’s nothing redundant about the design, and you can tell that every aspect of the watch has been thoughtfully and meticulously executed.

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This includes the hand-engraved Roman numerals to the signature Haldimann hands, which I believe were inspired by a wooden clock made by the Haldimann family in the mid-17th century.

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For a watchmaking family tradition that dates back to the 1600s, I think Haldimann does an incredible job of finding the right balance between tradition and innovation.

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My second choice is a mid-sized Audemars Piguet Royal Oak from 1992. I’m not usually a fan of Royal Oaks, mostly because it’s difficult to find one that sits well on my wrist. This one, however, is perfectly sized. And just look at how thin it is – it’s incredibly easy to wear.

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The dial is as simple as it can get: no date, no center seconds. The diamond indexes add just the right amount of charm, but what really makes the watch special is the moment you pick it up and realize it isn’t made of steel, but platinum – something very unusual and rare for a quartz Royal Oak.

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So, despite its small size and thin profile, the watch still carries great presence on the wrist, and that’s something you can only really appreciate once you wear it.

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Lot 969: Piaget Ref. GOA39151 Altiplano Scrimshaw in 18k Pink Gold

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Estimate: HK$150,000–300,000

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Lot 909: Piaget Ref. GOA47543 Black Tie in Platinum

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Estimate: HK$500,000–1,000,000

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Aaron Kwok, Cataloguer

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This season I picked two lovely watches, and they’re both from Piaget.

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The first is a very thin and flat-cased dress watch with a truly special dial featuring the scrimshaw engraving technique. Scrimshaw is a very fine engraving technique that originated in the 18th and 19th centuries, when whalers and sailors engraved and inked whale teeth.

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You need a very smooth and dense surface to create this kind of engraving and apply the ink properly, so this is not ordinary ivory – it is 40,000-year-old fossilized mammoth ivory. You can see that beautiful ivory tone across the dial.

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There are many world-map watches out there, but I think this one has a particularly lovely vintage feel.

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My second pick is the Piaget Black Tie, also known as the Andy Warhol watch. As the name suggests, Andy Warhol owned a Black Tie in the 1970s, though his example was in gold. This one is made in platinum and features an onyx dial with baguette-cut diamond hour markers.

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This piece is a No.3 of a unique six-piece edition, and it is freshly unsealed, so the condition is impeccable. I think this is a very neat and tidy dress watch.

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Click Phillips Hong Kong Watch Auction: XXII to learn more, place a bid, and view the entire catalogue .

\n\n

About Phillips In Association With Bacs & Russo

\n\n

Discover More from PHILLIPS >

\n\n

Recommended Reading

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The Beijing Edition: An Ultra-Rare F.P. Journe Tourbillon Souverain 38mm 'Chine 2010'

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An 'MSO' Commission: The Unique, Double-Sealed Patek Philippe Ref. 5970R-017

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Two Sides of Cartier: A Gem-Set Crash Squelette and Libre Baignoire Allongée

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The Rare Dial Variations of the Philippe Dufour Simplicity

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In-Depth: Oscillon, L’instant de Vérité, and the Tensator Constant-Force Spring

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The 'Padellone' in 18k White Gold: Patek Philippe's Landmark Perpetual Calendar Ref. 3448

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Hidden Gems of the 1970s: Experimental Ladies’ Watches by Patek Philippe

\n","2026-05-27T02:00:00.000000Z","Steven Rogers","https://www.phillips.com/article/168783152/specialists-picks-phillips-hong-kong-watch-auction-xxii-may-2026",9441,5306,168783152,{"_361":109,"_363":369,"_365":71,"_50":370,"_368":345},{"_361":362,"_363":364,"_365":366,"_50":367,"_368":341},"startDateTime","2026-05-31T04:00:00.000000Z","lotNumberStart","942","lotNumberEnd","1097","Session Two","sequenceID","801","Session One","2026-05-25T16:00:00.000000Z","endDateTime","2026-05-30T16:00:00.000000Z",{"_220":164,"_221":222,"_223":224,"_225":226,"_227":228,"_229":230},"hourRanges",[377],{"_378":379,"_380":381,"_382":383,"_384":385},"dayEnd","Sunday","dayStart","Tuesday","startTime","10:00:00","endTime","19:00:00",{"_396":417,"_50":418,"_399":400},{"_396":415,"_50":416,"_399":400},{"_396":413,"_50":414,"_399":400},{"_396":411,"_50":412,"_399":400},{"_396":409,"_50":410,"_399":400},{"_396":407,"_50":408,"_399":400},{"_396":405,"_50":406,"_399":400},{"_396":403,"_50":404,"_399":400},{"_396":401,"_50":402,"_399":400},{"_396":397,"_50":398,"_399":400},"imagePath","https://assets.phillips.com/auctions/HK080226/10a_hi.jpg","

PATEK PHILIPPE Ref. 5033P-012 in platinum, HK$1,800,000–2,800,000

\n","version","0","https://assets.phillips.com/auctions/HK080226/9a_hi.jpg","

PATEK PHILIPPE Ref. 5016P-010 in platinum, HK$3,500,000–6,500,000

\n","https://assets.phillips.com/auctions/HK080226/8a_hi.jpg","

CARTIER “Brûlé Parfum Jade de Nankin”, A unique, exceptionally rare, impressive and museum quality mystery clock, HK$400,000–800,000

\n","https://assets.phillips.com/auctions/HK080226/7a_hi.jpg","

CARTIER Modèle A, A unique, extremely rare and historically important Art Deco mystery clock, HK$2,400,000–4,800,000

\n","https://assets.phillips.com/auctions/HK080226/6a_hi.jpg","

F.P. JOURNE Tourbillon Souverain, “Chine 2010 38” in platinum, one of a limited edition of 5 pieces made to commemorate the opening of the F.P. Journe Boutique in Beijing, In excess of HKD7,800,000

\n","https://assets.phillips.com/auctions/HK080226/5a_hi.jpg","

PHILIPPE DUFOUR Simplicity, An exquisite, extremely rare, first time to appear publicly and only known stainless steel wristwatch with grey guilloché dial, Breguet numerals, HK$2,800,000–5,600,000

\n","https://assets.phillips.com/auctions/HK080226/4a_hi.jpg","

PATEK PHILIPPE Ref. 5970R-017, A unique and very important pink gold perpetual calendar chronograph with special black luminous monogrammed dial, Breguet numeral at 12 o'clock, tachymetre scale, commissioned by American collector Michael Ovitz - double-factory-sealed, HK$4,000,000–8,000,000

\n","https://assets.phillips.com/auctions/HK080226/3a_hi.jpg","

PATEK PHILIPPE Ref. 5970P-018 in platinum with blue dial and Roman numerals at 12 o’clock, HK$3,500,000–7,000,000

\n","https://assets.phillips.com/auctions/HK080226/2a_hi.jpg","

PATEK PHILIPPE Ref. 3448 Padellone “Tokyo White”, An exceedingly rare, important and fresh-to-the-international-market white gold double-signed perpetual calendar wristwatch with “Topsider” signature, retailed by Beyer – the only known example, HK$6,000,000–12,000,000

\n","https://assets.phillips.com/auctions/HK080226/1a_hi.jpg","

PATEK PHILIPPE Ref. 2499 “The Pink First Series”, An historically important, pink gold perpetual calendar chronograph wristwatch with French calendar and case made by Vichet, the only known pink gold first series example with British hallmarks, HK$24,000,000–48,000,000

\n","Σ","✱","https://assets.phillips.com/auctions/HK080226/234083_002.jpg","https://assets.phillips.com/auctions/HK080226/234083_003.jpg","https://assets.phillips.com/auctions/HK080226/234083_004.jpg","https://assets.phillips.com/auctions/HK080226/234083_005.jpg","https://assets.phillips.com/auctions/HK080226/234083_006.jpg","https://assets.phillips.com/auctions/HK080226/234083_007.jpg","https://assets.phillips.com/auctions/HK080226/234083_008.jpg","https://assets.phillips.com/auctions/HK080226/234083_009.jpg","https://assets.phillips.com/auctions/HK080226/234083_010.jpg","https://assets.phillips.com/auctions/HK080226/234083_011.jpg","https://assets.phillips.com/auctions/HK080226/234083_012.jpg","https://assets.phillips.com/auctions/HK080226/234083_013.jpg","https://assets.phillips.com/auctions/HK080226/234083_014.jpg","https://assets.phillips.com/auctions/HK080226/234083_015.jpg","https://assets.phillips.com/auctions/HK080226/234083_016.jpg","https://assets.phillips.com/auctions/HK080226/234083_017.jpg","https://assets.phillips.com/auctions/HK080226/234083_018.jpg","https://assets.phillips.com/auctions/HK080226/234083_019.jpg","https://assets.phillips.com/auctions/HK080226/234083_020.jpg","snapshotId",83131,"bidSequence",68275,"opposingBidSequence",68300,"recordedAt","2026-05-30T10:26:44.478000Z","amount","executed","mainEstimate",{"_231":232,"_459":234,"_460":173,"_461":462},"otherEstimates",[454,455,456,457,458],{"_231":474,"_459":475,"_460":476,"_461":477},{"_231":471,"_459":471,"_460":472,"_461":473},{"_231":467,"_459":468,"_460":469,"_461":470},{"_231":463,"_459":464,"_460":465,"_461":466},{"_231":232,"_459":234,"_460":173,"_461":462},"currencySymbol","highEstimate","lowEstimate",24000000,"USD","$",6150000,3080000,"EUR","€",5240000,2620000,"CHF",4840000,2420000,"GBP","£",4540000,2270000,"232174",895,{"_520":521,"_450":522},"https://www.phillips.com/detail/fp-journe/232174","895",95,"An extremely rare, highly coveted and commemorative platinum 38mm diameter wristwatch with tourbillon regulator, deadbeat seconds, remontoir d’égalité, power reserve indication, certificate and presentation box, one of a limited edition of 5 pieces made to commemorate the opening of the F.P. Journe Boutique in Beijing",13096,"F.P. Journe",15,{"_440":516,"_442":517,"_444":518,"_446":519,"_62":63,"_58":478,"_448":491,"_449":93},5460000,32965000,26500000,"

Founded by watchmaker François-Paul Journe in 1999, the F.P. Journe brand is relatively young, but already is as highly regarded by collectors as many distinguished manufacturers with centuries-old heritage. In the minds of the world's savviest collectors, Journe is producing some of the finest wristwatches the market has ever seen. Mastering his craft from restoring historical timepieces, he was the first to create a wristwatch incorporating two escapements that benefit from the phenomenon of resonance — the Chronomètre à Résonance.

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Key models include the Résonance, tourbillon wristwatches incorporating a remontoir and the limited edition Vagabondage series. Especially sought-after are his earliest "souscription" watches, made in 1999.

",1999,"Circa 2010","38mm diameter"," Good To Know:\r\n-\tOnly known 38mm diameter example in the market\r\n-\tLimited edition of 5 pieces only\r\n-\tMade to celebrate the opening of the Beijing Boutique\r\n\r\n\r\nInterest in F.P. Journe has ignited a fire no independent watchmaker has ever fanned before, blazing far beyond collector hunger or mere horological reverence. Today, François-Paul Journe reigns in an electrifying realm where profound scholarship, jaw-dropping record prices, and genuine cultural stardom collide. The proof pulses not just in the timepieces shattering auction records, but in the stories, legendary provenances, and—more recently—global fascination swirling around the brand, as evidenced by Bloomberg articles highlighting its impressive impact. Its annual production of just shy of 1,000 pieces has left collectors craving them like oxygen.\r\n\r\nThunderous world records and heart-stopping auction results have chronicled the breathtaking ascent of Journe’s creations. From the 1993 Tourbillon à Remontoire d’Égalité No. 15/93—the second wristwatch Journe ever created—which stormed Geneva for a staggering CHF 7.32 million record, to the exquisite 1991 Pendule Sympathique Clock N°1, born from his collaboration with THA for Breguet, which commanded CHF 5.5 million. The fever refused to break as the Régence Circulaire Tourbillon Souverain kissed CHF 1.7 million.\r\n\r\nThen came the moment that stopped the watch world cold: Francis Ford Coppola’s one-of-a-kind 2021 FFC Prototype exploded onto the block and hammered down for a total of USD 10.75 million—a world record for any F.P. Journe wristwatch and for any creation by an independent watchmaker. This Hollywood-charged triumph hurled Journe into the stratosphere alongside Rolex and Patek Philippe, forever silencing whispers of “cult favorite.”\r\n\r\nFrançois-Paul Journe’s uncompromising vision, unleashed at his defiant 1991 AHCI debut in Baselworld, has forged an empire of pure independence and breathtaking technical brilliance. From the pioneering Souscription Tourbillon and Chronomètre à Résonance to the revolutionary Octa family, Centigraphe, Sonnerie Souveraine, Astronomic Souveraine, and the mind-bending FFC.\r\n\r\nJapanese purists were the first to fall under his spell, igniting the 2003 Tokyo boutique in the Omotesando district—the Japanese equivalent of Parisian Saint-Germain-des-Prés—with the first boutique sitting a stone’s throw from the serene Nezu Museum. Fast forward two years, and with surging demand from early supporters, more boutiques began to emerge across the globe. In 2006, the brand set foot in America for the first time with a salon in Boca Raton, Florida, and landed in Hong Kong the same year. This was followed by the inauguration of the boutique salon in Geneva in 2007, Paris in 2008, and New York in 2009. In 2010, the brand opened its doors to its 7th boutique in Beijing, China. The opening of the Journe Boutique in Beijing was an important moment for the firm as it expanded its expertise and exceptional craft to the largest up-and-coming community of collectors in Asia. With a prime location in the Yintaï Centre, it was only a 2-minute walk from Tiananmen Square. Last but not least, the Mayfair London boutique opened its doors in 2023.\r\n\r\nThe boutique editions that have sprinkled throughout the brand’s lineage are nothing short of legendary among the passionate circle of collectors. Often created as celebratory milestones for new expansions or salon anniversaries, the Tourbillon Souverain TN (Tourbillon Nouveau) is among the most favoured models. Introduced in 2003 in the wake of a new era of Journe innovation, the TN cal. 1403—crafted with an 18K pink gold movement—ushered out the brass movements previously in use. Sized at 14 lignes and developed in 2003 (hence cal. 1403), this new upgrade from the brass cal. 1498 features an integrated seconde morte (deadbeat seconds) within the constant-force mechanism of the Tourbillon Souverain TN. With an estimated 15-year production run, only about 850 examples of the Tourbillon Nouveau were made. Early transitional examples of the model were available in both 38 mm and 40 mm diameter cases. After the smaller case size was discontinued from the catalogue, the 38 mm diameter models came to be considered the origin of F.P. Journe—so important that Journe released a stainless steel 38 mm set of five iconic models, including the Tourbillon Souverain, in 2015 to commemorate its discontinuation.\r\n\r\nDaring, bold, and featuring a fiery red lacquered dial with a patriotic twist—five stars echoing China’s flag (representing the five regions of the PRC) as the power reserve indication—this marked the first vibrant red Tourbillon Souverain ever made by the brand: the Chine 2010 edition, created to celebrate the opening of the Beijing boutique.\r\n\r\nTo our knowledge, only 3 examples from the limited edition of 5 pieces have ever appeared on the market: two sized at 40 mm diameter and only one in 38 mm. Phillips had the pleasure of auctioning two of the five Special China edition Tourbillon Souverains, a 40mm example at The Hong Kong Watch Auction: XIV in May 2022 and the present 38mm example at The Hong Kong Watch Auction: XVII in November 2023. As far as we are aware, and based on current scholarship, this is the only 38mm among the 5 pieces to have ever appeared on the market. \r\n\r\nThe present example, the F.P. Journe Tourbillon Souverain“Chine 2010 38”, is the third to surface on the market. Preserved in absolutely stunning condition and accompanied by its original accessories, this “Chine 2010 38” owes its uber-rarity to the astute collector’s specific request for a more elegantly proportioned case. And indeed, it was.\r\n\r\nA testament to the importance of the Asian market, a piece of horological art, and the most iconic Journe complicated wristwatch, the present example ticks all the boxes. Phillips is extremely humbled and excited to be entrusted once again to offer this rare and exciting wristwatch at our Hong Kong Watch Auction.","https://assets.phillips.com/auctions/HK080226/232174_001.jpg",[509,510,511,512,513,514,515],[419],"Case: The case is well-preserved with only light signs of use and wear from the past. The hallmarks on the platinum case remains crisp and unrubbed. The surface is presented with only light wear observed under a strong loupe such as faint hairlines an scuffs. Hairlines are present on the flat surface of the lugs.\r\n\r\nDial: The dial is presented in excellent overall condition with a light spot on the seconds register.\r\n\r\nMovement: \r\nThe present example displays a tourbillon movement that is ticking and functions properly during the cataloguing process. Please note that the movement has not been tested for accuracy. \r\n\r\n\r\n\r\nΣ ENDANGERED SPECIES\r\nLots with this symbol have been identified at the time of cataloguing as containing endangered or other protected species of wildlife which may be subject to restrictions regarding export or import and which may require permits for export as well as import. Please be advised that wristbands made of materials derived from endangered or otherwise protected species (i.e. alligator and crocodile) We reserve the right to remove these bands before shipping. Please refer to Paragraph 4 of the Guide for Prospective Buyers and Paragraph 11 of the Conditions of Sale or contact the department for further information",{"_231":232,"_233":234},"Accompanied by F. P. Journe certificate stamped Montre Journe Hong Kong Limited dated 15th June 2010, fitted presentation box and outer packaging.","550-TN","modelName","Tourbillon Souverain, “Chine 2010 38”","Platinum","Manual, cal. 1403, 26 jewels","Platinum F. P. Journe pin buckle","https://assets.phillips.com/auctions/HK080226/232174_002.jpg","https://assets.phillips.com/auctions/HK080226/232174_003.jpg","https://assets.phillips.com/auctions/HK080226/232174_004.jpg","https://assets.phillips.com/auctions/HK080226/232174_005.jpg","https://assets.phillips.com/auctions/HK080226/232174_006.jpg","https://assets.phillips.com/auctions/HK080226/232174_007.jpg","https://assets.phillips.com/auctions/HK080226/232174_008.jpg",82376,67581,67594,"2026-05-30T08:24:05.884000Z","estimateText","In Excess of HKD7,800,000/ USD 1,000,000",{"_231":232,"_459":234,"_461":523},7800000,"229976",588,2027,{"_450":667,"_452":668},"https://www.phillips.com/detail/cartier/229976","AuctionLot","588",88,"Diamond, Onyx and Emerald Brooch, 'Panthère'",4810,"Cartier",{"_440":662,"_442":663,"_444":664,"_446":665,"_62":526,"_58":524,"_448":666,"_449":93},770000,2193000,"

With the Constitution of 1848 came a new standard for luxury in France. Founded one year prior by Louis-Francois Cartier, the house of Cartier was one of the first to use platinum in jewelry making. This incredibly expensive material became the stepping-stone for Cartier to experiment in form, mechanisms and attitude. It helped men move from pocket watches to wristwatches, effectively making the watch much more functional and prominent in a man's overall wardrobe.

Cartier did not only touch on functionality. Inspired by a commissioned painting by George Barbier featuring a black panther at the feet of an elegantly bejeweled woman, Cartier began incorporating wild animals in his designs—most notably, Cartier Panthère rings, bangle bracelets and watches. Yet it wasn't until the late 1960s that the house of Cartier debuted their iconic yellow and rose gold LOVE collection, which includes the famous bracelet that only a special screwdriver can open.

","French","

Shanne Ng
\nSenior Specialist
\nshanneng@phillips.com
\n+852 2318 2054
\n
\nDiana Chang
\nHead of Sale, Specialist
\ndianachang@phillips.com
\n+852 2318 2082
\n
\nJewelleryHK@phillips.com
\n+852 2318 2000
\n

\n","medium","Designed as a reclining panther with articulated legs, pavé-set with brilliant-cut diamonds, highlighted by onyx spots and nose and emerald eyes, signed Cartier, numbered, French assay and maker's marks, measuring approximately 95 x 26 mm, case stamped Cartier.\r\n\r\nAccompanied by a Cartier certificate.\r\n\r\nPriority Bidding is here! Secure a lower Buyer's Premium. Learn more >","Property of a Lady","https://assets.phillips.com/auctions/HK060126/229976_001.jpg",[658,659,660,661],"- Diamonds gauged to weigh approximately 9.00 carats in total, E-F Colour, on average VS Clarity\r\n- Onyx spots and nose and emerald eyes in overall very good condition\r\n- Signed Cartier, no. 20608C and with French maker's marks\r\n- Stamped PT950 and with French assay marks for platinum, \r\n- Measuring approximately 95 x 30 mm\r\n- Gross weight: 68.5 grams\r\n- Show signs of very minor wear to metal\r\n- Overall condition and make very good\r\n- Accompanied by a signed case and a Cartier certificate\r\n\r\nGRADED AS MOUNTING PERMITS","HK060126",{"_231":232,"_233":234},{"_62":526,"_138":547,"_161":550,"_163":164,"_165":166,"_167":551,"_170":552,"_172":553,"_174":75,"_175":77,"_176":554,"_178":555,"_180":555,"_181":556,"_183":557,"_118":540,"_185":90,"_186":90,"_187":93,"_188":90,"_189":90,"_190":90,"_191":93,"_192":90,"_193":90,"_111":93,"_194":90,"_195":93,"_196":90,"_197":90,"_198":90,"_142":93,"_102":90,"_103":93,"_199":558,"_201":559,"_205":560,"_207":561,"_140":562,"_210":563,"_212":564,"_214":565,"_216":566,"_567":568,"_218":569},"The Hong Kong Jewels Auction","2026-03-30T06:00:00.000000Z",20000,6500000,"https://assets.phillips.com/image/upload/t_Website_AuctionPageHero/v1772090740/auctions/HK060126/HK060126.jpg","JewelleryHK@phillips.com","

23 - 29 March, 11am - 7pm
\n30 March, 10am - 12pm
\n
\nHighlight Tour
\n
\nTaipei
\n14 - 15 March 2026
\n11am—6pm
\nBellavita B1 Art Gallery
\nB1F., No. 28, Songren Road, Xinyi District
\nTaipei City, Taiwan
\nEnquiries: taiwanoffice@phillips.com
\n
\nView Conditions of Sale >
\n
\nPriority Bidding is here! Secure a lower Buyer’s Premium. Learn more >

\n","Hong Kong Auction 30 March 2026",[618,619,620,621,622,623,624,625,626,627],{"_361":615,"_372":616,"_210":617},[583,584,585],[580],{"_231":232,"_233":234},{"_220":164,"_221":222,"_223":224,"_225":226,"_227":228,"_229":230},85,"1-BRCYW7","https://www.phillips.com/auction/HK060126","relatedAuctions",[570],"https://dist.phillips.com/content/web/auction-results/auctionResultsFile_HK060126.pdf",{"_138":571,"_62":572,"_161":573,"_574":575,"_176":576,"_216":577,"_167":578,"_168":579,"_163":164,"_165":166},"HK060226",2028,"Hong Kong Jewels: Online Auction","saleType","TimedAuction","https://assets.phillips.com/image/upload/t_Website_AuctionPageHero/v1772518634/auctions/HK060226/HK060226.jpg","https://www.phillips.com/auction/HK060226","2026-03-23T04:00:00.000000Z","2026-03-31T06:00:00.000000Z",{"_236":318,"_238":581,"_240":582},"Jewelry","Jewels",{"_250":605,"_252":582,"_253":606,"_50":607,"_256":608,"_258":609,"_260":610,"_264":265,"_266":267,"_268":611,"_78":267,"_271":612,"_273":613,"_275":614},{"_250":596,"_252":582,"_253":597,"_50":598,"_256":599,"_258":600,"_260":591,"_264":265,"_266":267,"_268":601,"_78":345,"_271":602,"_273":603,"_275":604},{"_250":586,"_252":582,"_253":587,"_50":588,"_256":589,"_258":590,"_260":591,"_264":265,"_266":267,"_268":592,"_78":341,"_271":593,"_273":594,"_275":595},"https://flockler.com/thumbs/sites/889/specialist-cover-fca571bb-7f6a-4fd2-8843-f1938a29ac8d_s600x0.jpg","Seven standout jewels that caught our team’s eyes.","Specialist Picks: The Hong Kong Jewels Auction","

Lot 588: Cartier Diamond, Onyx and Emerald Brooch, 'Panthère'

\n\n

This season’s selection brings together the rarity, artistry and heritage that define fine jewellery collecting.

\n\n

Below, we present our team’s picks from The Hong Kong Jewels Auction, taking place 30 March at 2 PM HKT in Hong Kong. From radiant gemstones to creations by iconic jewellery houses, these pieces offer a glimpse into the highlights of the upcoming sale.

\n\n

Cartier Panthère: Timeless Power

\n\n

\n\n

Lot 504: Cartier Diamond, Emerald and Onyx Ring, ‘Panthère de Cartier’
\n
\nCristel Tan, International Specialist

\n\n

The Panthère is one of the most iconic emblems of the House of Cartier. Inspired by the elegance, strength and grace of the powerful panther, the motif first appeared in 1914 and gradually evolved into a signature symbol synonymous with the brand. The design was first developed into striking high jewellery creations and timepieces under the direction of Cartier’s creative director in the 1930s, Jeanne Toussaint, who was affectionately known as “La Panthère.”

\n\n

Through sculptural forms, pavé-set diamonds and hypnotic emerald-set eyes, each interpretation captures the feline’s fluid movements and seductive presence. These creations embody Cartier’s bold creativity, extraordinary craftsmanship and enduring fascination with the panther motif.

\n\n

This season, we are delighted to present four distinct interpretations of the Cartier Panthère, each showcasing the versatility of the Maison’s most captivating feline.

\n\n

\n\n

Lot 564: Cartier Gold Necklace and Bracelet, ‘Mahango’
\nLot 576: Cartier Gold Necklace, ‘Maillon Panthère’

\n\n

Ruby: Radiant Rarity

\n\n

\n\n

Lot 582: Ruby and Diamond Ring.

\n\n

Shanne Ng, Senior Specialist

\n\n

A Burmese ruby weighing over five carats, untouched by heat or clarity enhancement, is extraordinarily rare in today’s market. This 5.39-carat example displays a vibrant red fluorescence that creates a luminous, almost “lit-from-within” quality reminiscent of the renowned Mogok mines.

\n\n

Its high transparency and lively brilliance further enhance its beauty, resulting in a gemstone of remarkable presence. For collectors seeking untreated stones of the highest calibre, this exceptional ruby represents a truly rare opportunity.

\n\n

Natural Pearls: Rare Refinement

\n\n

\n\n

Lot 552: House of Glenn Spiro Natural Pearl, Seed Pearl, Diamond and Icy Jadeite Necklace

\n\n

Diana Chang, Head of Sale, Specialist

\n\n

Featuring eight exquisitely selected natural pearls, each distinguished by remarkably smooth skin and rare uniform hues, this Glenn Spiro necklace represents the pinnacle of natural pearl selection, a remarkable achievement given their extreme scarcity.

\n\n

The largest drop pearl, measuring approximately 14.64–14.90 × 25.18 mm, stands out for its impressive size and luminous lustre. Created during Glenn Spiro’s early independent years, when he had already earned the reputation of a “jeweller’s jeweller”, the piece reflects his instinct for extraordinary materials and distinctive design.

\n\n

Celebrated for his inventive approach to rare gemstones, Spiro brings a confident modernity to the pairing of natural pearls, diamonds and icy jadeite. The dialogue between these materials feels both rare and refined, revealing the quiet sophistication that defines his work.

\n\n

Jadeite: Cultural Elegance

\n\n

\n\n

Lot 587: Pair of Jadeite and Diamond Earrings

\n\n

Michelle Keung, Cataloguer

\n\n

Valued for thousands of years across Asia, jadeite holds deep cultural significance, connecting generations through heritage and tradition. Its beauty lies not only in its colour but also in its texture and translucency.

\n\n

The jadeite featured in this pair of earrings displays exceptional translucency and a soft, harmonious hue that enhances its natural beauty. Elegant yet versatile, the design allows these earrings to transition effortlessly between traditional and contemporary jewellery styles.

\n","2026-03-16T08:34:57.000000Z","Veronica Chow","https://www.phillips.com/article/166964452/specialist-picks-spring26",8982,5226,166964452,"https://flockler.com/thumbs/sites/889/mar-2026-mahjong-evite-illustration-a7923ddd-d8e0-4fb8-87b4-a8f1618fd624_s600x0.jpg","傳統亞洲消遣娛樂成為了珠寶敘事的新典範","麻將哲學與珠寶的現代解讀","

富藝斯團隊經常遊走紐約、倫敦與香港不同城市，我們留意到一股別具風格的轉變：時尚名流逐漸放下手機，轉向重拾象牙麻將牌。四方城強勢回歸，成為全球流行玩意。

\n\n

麻將不僅僅是耍樂玩意，更是一種儀式與感官體驗。牌張清脆而富節奏的碰撞聲，如同序曲般響起，宣告著這項遊戲所蘊含的策略、工藝與文化傳承。在數碼疲勞日益普遍的時代，我們自自然然被那些承載厚度、意義與精湛工藝的實體物件所吸引，而這些特質與珠寶藝術可謂密不可分。

\n\n

本文探索如此「消遣瑰寶」與即將上拍的珠寶臻品的共同精神基因，同時誠邀閣下於3月28日（星期六）蒞臨香港，參與一場特別活動：歡迎閣下佩戴心愛珠寶首飾，與富藝斯共度一個優雅的麻將午聚，品嚐精緻粵式美饌並且率先欣賞《珍貴珠寶：香港拍賣》本季精品。

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極致工藝

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拍品589: 裝飾藝術紅寶石, 祖母綠, 藍寶石配鑽石手鏈, 1931年, 卡地亞，珍貴珠寶：香港拍賣。

\n\n

歷史上，麻將多以骨或竹手工雕刻而成。這些製牌匠人與寶石切割師及珠寶工匠的精神一脈相承：他們反覆琢磨珍貴原材，直至其中留下最純粹而精煉的形態。兩者之間，這種細膩而高風險的平衡，彷彿是通往精妙工藝與神秘魅力的一扇窗。

\n\n

上述精準匠心在當前卡地亞裝飾藝術手鏈（拍品589）中展露無遺。古歐式切割鑽石與長階梯形鑽石沿鏈節鋪展，如同在細緻鋼索上延伸的光芒；而扣飾則以鮮豔的紅寶石、藍寶石與祖母綠點綴，耀眼生輝。與之呼應的JAR耳夾（拍品575）亦將珠寶工藝的造詣發揮得淋漓盡致，其鮮明的色彩層次與蜿蜒流動的輪廓，宛若大自然的優雅姿態。

\n\n

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拍品575: 鋁金「Pansy」耳夾一對, JAR，珍貴珠寶：香港拍賣。

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三龍登場

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拍品569:「緬甸」天然紅寶石配鑽石耳環一對, 紅寶石共重約4.03克拉, 未經加熱處理，珍貴珠寶：香港拍賣。

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麻將牌張分為兩大類：數牌與番子，其中三種箭牌（中發白）可謂整副牌中最具力量與象徵意義的番子。中發白有如三龍，往往成為勝局關鍵。這三種色彩分別是象徵富饒的深綠、寓意成功的鮮紅，以及代表純粹的潔白，也構成了本場拍賣中多件珍罕拍品的精神核心。

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「紅中」在傳統文化中令人聯想到金榜題名的典故，象徵學者或匠人於專業領域攀上巔峰的榮耀時刻。這對天然紅寶石配鑽石耳環（拍品569）正是此種高光時刻的完美化身：兩顆未經加熱處理的緬甸紅寶石合共重達4.03克拉，色澤濃烈。手握一枚紅中牌，象徵掌握力量；而佩戴與之相映的耳環，則彷彿將這份力量化為自身氣度與光芒。

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拍品559: 9.22克拉「哥倫比亞」天然祖母綠配鑽石戒指, 祖母綠未經淨度處理，珍貴珠寶：香港拍賣。

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「發財」象徵繁榮與成長，寓意大地生機與人民昌盛交相匯聚。若要以珠寶承載如此深遠而動人的寓意，拍品559無疑是不二之選。這枚非凡戒指鑲嵌一顆9.22克拉階梯式切割祖母綠，並附有瑞士古柏林與SSEF證書，確認其產自哥倫比亞，且未經淨度處理，難能可貴。如此澄澈濃郁的色澤，彷彿大自然親自譜寫的一曲《富饒禮讚》。

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拍品528: 鑽石手鏈，珍貴珠寶：香港拍賣。

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目光一轉，象徵純粹與真理的「白板」隆重登場，當前迎來法國製鑽石手鏈（拍品528），惹人驚艷。其雅緻的卷式設計展現極尚工藝，堪稱中華哲學中明澈白龍的完美詮釋；明亮式切割與長階梯形鑽石沿腕間流轉，如同智慧之光從容地環繞手腕。

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美玉與戲雀

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玉石是最早期的麻將媒材之一，而兩者在亞洲文化中均有三重深遠的象徵：幸運、守護與富足。

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拍品587: 天然翡翠配鑽石耳環一對，珍貴珠寶：香港拍賣。

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在成為玩樂器具之前，玉石早已被雕琢為祭祀禮器與陪葬之物。古人深信，玉不僅象徵長生不朽，更是人神連結的橋樑。當麻將耍樂由民間消遣逐漸演變為皇室與富商階層的雅好時，以玉製作的牌張正是一種將遊戲昇華的方式。

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這份近乎神聖的地位在拍品587中得到動人的體現，當前拍品蘊含一種非凡力量，足以將最簡約的裝束昇華至極。耳環搭載四顆梨形翡翠蛋面，色澤明亮翠綠，極為通透，實屬玉石精華；外圍以明亮式切割鑽石圍鑲，並由橢圓形鑽石作為耳扣點綴，使整體在璀璨光芒中更顯純淨與莊雅，彷彿一縷神聖之靈，自耳畔優雅垂落。

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拍品544: 天然翡翠配鑽石別針，珍貴珠寶：香港拍賣。

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由於玉石在亞洲文化中蘊含深遠意義，翡翠珠寶與精緻牌張往往同被視作世代相傳的珍貴之物。它們不僅是器物，更是承載家族記憶的容器。

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拍品544正與如此傳承精神相契：這枚瑰麗胸針經典百搭，不隨時代流轉而失其魅力，只待每一代人以全新方式演繹箇中風采。拍品中央鑲嵌一顆色澤鮮亮的橢圓形翡翠蛋面，且未經注入樹脂處理，極佳通透；四周環以欖尖形與明亮式切割鑽石鏤空鑲嵌，美豔絕倫。它不僅是一件珠寶，更靜候著承載屬於閣下家族的故事。

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聲韻之境

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麻將牌清脆相擊的聲響啟發了許多饒富動感與層次的珠寶設計，包括可隨步履輕動的飾件、叮咚作響的手鏈、層層疊戴的鐲環，而上述靈感在當前寶格麗手鐲（拍品507）中不言而喻。

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拍品507: 瓷製配寶石「Chandra」手鐲, 寶格麗，珍貴珠寶：香港拍賣。

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這枚寶格麗「Chandra」手鐲以光滑潔白的瓷製表面呼應麻將的感官魅力，其溫潤如乳的觸感，恰似掌心中一枚上乘牌張的清涼質地。點綴其上的心形弧面寶石包括碧璽、紫水晶、黃水晶與橄欖石等，則以繽紛色彩喚醒視覺與觸覺，如同豎琴上輕輕拂過的一段柔和和弦。

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若再與梵克雅寶K金配鑽石手鏈（拍品566）疊戴搭配，便宛如譜寫出一段純粹奢華的聲景，呼應麻將洗牌與出牌時那清脆而富節奏感的聲響。
\n
\n收歸上述瑰寶，納入您的珍藏；誠邀閣下與我們同席對局，共享一場風雅之戲。

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拍品566: K金配鑽石手鏈, 梵克雅寶，珍貴珠寶：香港拍賣。

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拍賣詳情>珍貴珠寶：香港拍賣

\n","2026-03-17T08:42:59.000000Z","https://www.phillips.com/article/166990742/the-mahjong-muse-hong-kong-jewels-auction-march-2026-cn",8981,5227,166990742,"https://flockler.com/thumbs/sites/889/mar-2026-mahjong-evite-illustration-2543b75b-c4d2-47bf-a57b-b16aae60730c_s600x0.jpg","How Asia's most iconic game became a new benchmark for jewelry storytelling. ","The Mahjong Muse","

As our teams move between New York, London, and Hong Kong, we’ve noticed a distinct shift recently: the world’s most stylish circles are trading their screens for ivory-hued tiles. Mahjong is back, and it’s now global.

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More than a game, mahjong is both a ritual and a sensory experience. The rhythmic clack of the tiles serves as a fanfare, heralding the strategy, artisanship, and cultural history of the game. Its resurgence comes naturally in an era of digital fatigue, as we find ourselves drawn to physical objects of weight, intention, and exquisite craft — qualities inseparable from the jeweler’s art.

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Here, we explore the shared DNA between this gem of a game and some exceptional pieces in our upcoming jewels auction. Plus, join us on Saturday, 28 March in Hong Kong for a special event — wear your favorite jewelry for an afternoon of mahjong games, enjoy delicious Cantonese delicacies and sparkling tea, and discover the remarkable pieces in The Hong Kong Jewels Auction. Attire: Mahjong Bling.

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A Perfected Craft

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Lot 589: Cartier, Art Deco Ruby, Emerald, Sapphire and Diamond Bracelet, 1931. The Hong Kong Jewels Auction.

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Historically, mahjong tiles were carved by hand from bone and bamboo. These artisan tile-makers shared much with both gem cutters and bench jewelers, as each work precious materials until only the essential remains. In both cases, this delicate, high-stakes balance is a window into a world of intrigue.

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We see this same precision in Lot 589, an extraordinary Cartier bracelet. Here, a line of old European-cut and baguette diamonds spans the links like a tightrope, secured by a vibrant clasp of ruby, sapphire, and emerald. Similarly, the JAR ear clips (Lot 575) put the jeweler’s mastery on full display — their vivid palette and sinuous form feel as effortless and beautiful as nature itself.

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Lot 575: JAR, Pair of Aluminum Ear Clips, 'Pansy'. The Hong Kong Jewels Auction.

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Enter the Three Dragons

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Lot 569: Pair of Ruby and Diamond Earrings. The Hong Kong Jewels Auction.

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Mahjong tiles are divided into two main categories: Suits (the numbered tiles) and Honors. The Dragon tiles are the game’s most powerful and symbolic Honors. Just as the Three Dragons anchor a winning mahjong hand, these colors — the deep green of prosperity, the vivid red of success, and the pure white of the essential — anchor coveted lots in our auction.

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The Red Dragon is associated with the historical concept of passing the imperial examination, symbolizing the moment a scholar or artisan reaches the peak of their profession. This pair of ruby and diamond earrings (Lot 569) symbolizes an occasion of high-stakes personal triumph perfectly, with its unheated Burmese rubies weighing a combined 4.03 carats in total. To hold a Red Dragon tile is to hold a symbol of power; to wear the earrings that mirror them is to embody it.

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Lot 559: Emerald and Diamond Ring. The Hong Kong Jewels Auction.

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The Green Dragon symbolizes prosperity and growth, a convergence of the earth‘s flourishing and our own. To adorn ourselves with such resounding symbolism, we could do no better than Lot 559. This remarkable ring is set with a step-cut emerald weighing 9.22 carats, accompanied by Gübelin and SSEF reports confirming its Colombian origin and lack of clarity enhancement. It‘s simply nature “striking it rich.”

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Lot 528: Diamond Bracelet. The Hong Kong Jewels Auction.

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Turning our sights to the purity and truth of the White Dragon, we encounter Lot 528 — a stunning French diamond bracelet. Of scroll design, a bracelet this perfectly executed is a masterclass in the clarity the White Dragon symbolizes in Chinese philosophy, and the brilliant-cut and baguette diamonds embrace the wrist with a lucid wisdom.

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The Stone of Heaven and the Game of Sparrows

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Jade was one of the earliest materials used for mahjong tiles, and both jade and mahjong carry a trinity of culturally powerful meanings in Asia — luck, protection, and prosperity.

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Lot 587: Pair of Jadeite and Diamond Earrings. The Hong Kong Jewels Auction.

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Long before it was used for gaming, jade was carved into ritual objects and burial attire, as it was believed to grant immortality and connect the earthly realm to the divine. When mahjong transitioned from a folk game to a pastime of the imperial elite and wealthy merchant classes, crafting tiles from jade was a way to elevate the game to a sacred status.

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That sacred status is reflected beautifully in Lot 587. These earrings have the power to elevate even a simple outfit to a higher plane, set with four miraculous pear-shaped jadeite cabochons of bright emerald green colour and high translucency. The brilliant-cut diamond surrounds, and the oval-cut diamond surmounts, ground the earrings with a sense of purity — they are the divine spirit hanging powerfully from the ears.

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Lot 544: Jadeite and Diamond Brooch. The Hong Kong Jewels Auction.

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Due to jade’s significance in Asian culture, both jade jewelry and fine mahjong sets are often viewed as heirlooms. Both objects serve as vessels for family history, carrying the stories of the ancestors who held them.

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Lot 544 is well-suited to this tradition. Timeless and versatile, this magnificent brooch doesn’t go out of fashion; new generations just find new ways to style it. Set with a bright green oval jadeite cabochon with very good translucency and no resin, and embraced by marquise-shaped and brilliant-cut diamond pierced surrounds, it’s an heirloom waiting to carry your story.

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The Soundscape

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The clicking of mahjong tiles inspires jewelry that moves, chimes, or layers — stacked bangles, charm bracelets, and articulated pieces. These ideas are reflected beautifully in Lot 507 — a breathtaking Bulgari bangle.

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Lot 507: Bulgari, Porcelain and Gem Set Bangle, 'Chandra'. The Hong Kong Jewels Auction.

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This Bulgari 'Chandra' bangle mirrors the sensory allure of mahjong through its smooth white porcelain surfaces that evoke the cool, milky feel of a high-quality tile in the palm. The colourful heart-shaped cabochons of tourmalines, amethyst, citrine, and peridot also engage the senses, like a gentle rolled chord on a harp.

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Stacking it with Lot 566 — a gold and diamond bracelet from the house of Van Cleef & Arpels — creates a soundscape of pure luxury that echoes the same crisp, musical clack of mahjong tiles being shuffled or played.

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Make these pieces yours, and join us for a game.

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Lot 566: Van Cleef & Arpels, Gold and Diamond Bracelet. The Hong Kong Jewels Auction.

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Discover More from The Hong Kong Jewels Auction >

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\n","2026-03-11T20:28:27.000000Z","Jesse Limbacher","https://www.phillips.com/article/166856340/the-mahjong-muse-hong-kong-jewels-auction-march-2026",8980,5225,166856340,"2026-03-22T16:00:00.000000Z","2026-03-29T16:00:00.000000Z",{"_220":164,"_221":222,"_223":224,"_225":226,"_227":228,"_229":230},{"_396":655,"_50":656,"_399":657},{"_396":652,"_50":653,"_399":654},{"_396":649,"_50":650,"_399":651},{"_396":646,"_50":647,"_399":648},{"_396":643,"_50":644,"_399":645},{"_396":640,"_50":641,"_399":642},{"_396":637,"_50":638,"_399":639},{"_396":634,"_50":635,"_399":636},{"_396":631,"_50":632,"_399":633},{"_396":628,"_50":629,"_399":630},"https://assets.phillips.com/auctions/HK060126/10_hi.jpg","

Ruby and Diamond Necklace, HK$1,800,000–2,500,000

\n","1772090715","https://assets.phillips.com/auctions/HK060126/9_hi.jpg","

Fancy Light Pink Diamond and Diamond Ring, HK$2,000,000–4,500,000

\n","1772090705","https://assets.phillips.com/auctions/HK060126/8_hi.jpg","

Jadeite and Diamond Earrings, HK$1,350,000–1,800,000

\n","1772090696","https://assets.phillips.com/auctions/HK060126/7_hi.jpg","

BULGARI Gem Set and Diamond Demi-Parure, and Gem Set Ring, ‘Carré’, HK$500,000–900,000

\n","1772090687","https://assets.phillips.com/auctions/HK060126/6_hi.jpg","

Sapphire and Diamond Bracelet, HK$580,000–800,000

\n","1772090676","https://assets.phillips.com/auctions/HK060126/5a_hi.jpg","

Fancy Intense Yellow Diamond and Diamond Pendent Necklace, HK$1,600,000–2,200,000

\n","1772090667","https://assets.phillips.com/auctions/HK060126/4_hi.jpg","

Ruby and Diamond Earrings, HK$900,000–1,200,000

\n","1772090656","https://assets.phillips.com/auctions/HK060126/3_hi.jpg","

Emerald and Diamond Ring, HK$4,800,000–6,500,000

\n","1772090646","https://assets.phillips.com/auctions/HK060126/2_hi.jpg","

Padparadscha Sapphire and Diamond Ring, HK$920,000–1,200,000

\n","1772090637","https://assets.phillips.com/auctions/HK060126/1_hi.jpg","

CARTIER Art Deco Ruby, Emerald, Sapphire and Diamond Bracelet, HK$800,000–1,800,000

\n","1772090628","https://assets.phillips.com/auctions/HK060126/229976_002.jpg","https://assets.phillips.com/auctions/HK060126/229976_003.jpg","https://assets.phillips.com/auctions/HK060126/229976_004.jpg","https://assets.phillips.com/auctions/HK060126/229976_012.jpg",61240,42604,42606,"2026-03-30T08:10:45.642000Z",1700000,{"_231":232,"_459":234,"_460":674,"_461":675},[669,670,671,672,673],{"_231":474,"_459":475,"_460":682,"_461":683},{"_231":471,"_459":471,"_460":680,"_461":681},{"_231":467,"_459":468,"_460":678,"_461":679},{"_231":463,"_459":464,"_460":676,"_461":677},{"_231":232,"_459":234,"_460":674,"_461":675},2000000,1100000,260000,140000,220000,121000,198000,109000,191000,105000,"231914",11,2054,{"_450":836,"_452":837},"https://www.phillips.com/detail/liu-dan/231914","11","Dictionary",16050,"Liu Dan",17,{"_440":831,"_442":832,"_444":833,"_446":834,"_62":686,"_58":684,"_448":835,"_449":93},2450000,11505000,"Chinese","

Rebecca Hu
\nSpecialist, Head of Sale
\nModern & Contemporary Art, Hong Kong
\n+852 2318 2028
\nRebeccaHu@phillips.com
\n

\n","artistInscription","signed 'LIU DAN' lower right","200 x 260 cm. (78 3/4 x 102 3/8 in.)","ink and colour on paper","Executed in 2011, in China.\r\n\r\nPriority Bidding is here! Secure a lower Buyer's Premium. Learn more >","provenance","Acquired directly from the artist by the present owner","literature","Catherine Delacour ed., Rochers de Lettrés: Itinéraires de L'art en Chine, exh. cat., Musée Guimet, Paris, 2012 (illustrated, fig. 22, n.p., cat. 94, n.p.)\r\nBradley James Gardner, Scholar's Rocks at the Musée Guimet: A Personal Account, Arts of Asia, September - October 2012, p. 137, pl.21 (illustrated)","exhibited","Paris, Musée Guimet, Rochers de Lettres: Itineraires de L'art en Chine, 28 March – 25 June 2012","Property from a Distinguished Collection","https://assets.phillips.com/auctions/HK010226/231914_001.jpg",[826,827,828,829,830],[824,825],"enhancedLotComponents",[810],"HK010226",{"_231":232,"_233":234},{"_62":686,"_138":716,"_161":719,"_163":164,"_165":166,"_167":720,"_170":721,"_172":722,"_174":75,"_175":77,"_176":723,"_178":724,"_180":724,"_181":725,"_183":726,"_118":698,"_185":90,"_186":90,"_187":93,"_188":90,"_189":90,"_190":90,"_191":93,"_192":90,"_193":90,"_111":93,"_194":90,"_195":93,"_196":90,"_197":90,"_198":90,"_142":93,"_102":90,"_103":93,"_199":727,"_201":728,"_205":729,"_207":730,"_140":731,"_210":732,"_212":487,"_214":733,"_216":734,"_218":735},"Modern & Contemporary Art Evening Sale","2026-03-29T08:00:00.000000Z",200000,7000000,"https://assets.phillips.com/image/upload/t_Website_AuctionPageHero/v1772438505/auctions/HK010226/HK010226.jpg","MarcyChen@phillips.com","

Highlight Tour
\n
\nTaipei
\n14 - 15 March 2026
\n11am—6pm
\nBellavita B1 Art Gallery
\nB1F., No. 28, Songren Road, Xinyi District
\nTaipei City, Taiwan
\nEnquiries: taiwanoffice@phillips.com
\n
\nView Conditions of Sale >
\n
\nPriority Bidding is here! Secure a lower Buyer’s Premium. Learn more >

\n","Hong Kong Auction 29 March 2026",[786,787,788,789,790,791],{"_361":779,"_372":780,"_210":781,"_375":782},[739,740,741,742],[736],{"_231":232,"_233":234},{"_220":164,"_221":222,"_223":224,"_225":226,"_227":228,"_229":230},"1-BTZUE1","https://www.phillips.com/auction/HK010226","https://dist.phillips.com/content/web/auction-results/auctionResultsFile_HK010226.pdf",{"_236":345,"_238":737,"_240":738},"Contemporary","Modern & Contemporary Art",{"_250":770,"_252":738,"_253":771,"_50":772,"_256":773,"_258":774,"_260":591,"_264":265,"_266":267,"_268":775,"_78":267,"_271":776,"_273":777,"_275":778},{"_250":761,"_252":738,"_253":762,"_50":763,"_256":764,"_258":765,"_260":610,"_264":265,"_266":267,"_268":766,"_78":345,"_271":767,"_273":768,"_275":769},{"_250":752,"_252":738,"_253":753,"_50":754,"_256":755,"_258":756,"_260":591,"_264":265,"_266":267,"_268":757,"_78":341,"_271":758,"_273":759,"_275":760},{"_250":743,"_252":738,"_253":744,"_50":745,"_256":746,"_258":747,"_260":610,"_264":265,"_266":267,"_268":748,"_78":329,"_271":749,"_273":750,"_275":751},"https://flockler.com/thumbs/sites/889/shifting-forms-memory-and-the-contemporary-condition-385b4c7b-1651-48fb-a2a6-02243f008f6d_s600x0.jpg","Across portraiture, landscape, abstraction, and architecture, a selection of works from Phillips’ Modern & Contemporary Art Sales in Hong Kong reflects on memory, transformation, and the visual language of the present.","Shifting Forms: Memory and the Contemporary Condition","

Zhang Xiaogang, Bloodline Series - Father and Daughter, 2005. Modern & Contemporary Art Evening Sale Hong Kong.

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As Phillips presents its Modern & Contemporary Art Sales in Hong Kong on 29 March 2026, this selection brings together key voices in Chinese contemporary art whose practices span painting, abstraction, and architectural form.

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From Zhang Xiaogang’s psychologically charged portraiture to Huang Yuxing’s luminous landscapes, Ding Yi’s disciplined abstraction, and Cui Jie’s fragmented urban environments, these works trace the evolving relationship between personal memory and collective experience.

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Zhang Xiaogang

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Zhang Xiaogang stands among the most internationally influential figures in Chinese contemporary art, with his Bloodline: The Big Family series marking a defining moment in his career. Painted in 2005, Bloodline Series - Father and Daughter draws on the visual language of old Chinese photographs, transforming them into images marked by emotional distance and a striking absence of domestic intimacy.

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\n
I gradually realised that in those standardized 'family portraits,' what moved me—beyond the historical background—was precisely that stylised sense of 'retouching.' It contains an aesthetic consciousness unique to Chinese folk culture for ages, such as the blurring of individuality and a 'poetic,' neutralised beauty.
\n
\n– Zhang Xiaogang
\n

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Rendered in muted blues and greys that evoke black-and-white photography, Zhang uses extremely fine brushwork and multiple layers of thin glaze to create a glowing effect similar to lens flare; on the other hand, he applies a final treatment to the dry paint to construct a mottled texture reminiscent of aged photographs. The absence of the mother figure introduces a metaphor for missing emotional interaction, while the signature red-threaded “bloodlines” suggest both familial connection and the more elusive tensions of troubled memory, questionable history, and the fragile collective experience.

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In 1995, 13 large Big Family paintings were exhibited at the Venice Biennale, marking the beginning of Zhang’s distinguished and prolific career. His works were later cemented in permanent collections of global institutions, including: HOW Art Museum, Shanghai; Long Museum, Shanghai; M+ Sigg Collection, Hong Kong; Solomon R. Guggenheim Museum, New York; Fondation Louis Vuitton, Paris; National Museum of Modern and Contemporary Art, Seoul; Okinawa Prefectural Museum and Art Museum, Japan; and National Gallery of Australia, Canberra, amongst others.

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Huang Yuxing

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Huang Yuxing, Full Moon, 2017–2018. Modern & Contemporary Art Evening Sale Hong Kong.

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\n
The Himalayas are where I begin to discover and understand myself — and, by extension, the world around me. I visit the same place at different times and in different ways. Because every three or five years, I can sense how both the place and I have changed. It’s like a milestone or a point of reference.
\n
\n—Huang Yuxing
\n

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Full Moon represents a highly mature moment in Huang Yuxing’s practice, bringing together his central motifs of fluorescent colour, mountains, rivers, and bubbles. The work translates the spirit of traditional Chinese landscape painting into a contemporary “neon landscape”, one that resonates with the visual and psychological experience of the present.

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Constructed through a shifting, layered perspective, the composition moves upward from shimmering rivers and floating bubbles to luminous mountain forms and finally a deep blue sky crowned by a full moon. While visually intense and psychedelic, the painting resolves in a sense of stillness, balancing energy and calm within a radiant, immersive landscape.

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Huang Yuxing (b. 1975) is currently the leading figure among China’s ‘post-70s’ contemporary artists. His market performance has been explosive in recent years, making him highly sought after by collectors and institutions across Asia, Europe, and the Americas. In 2021, he shattered the auction record for a Chinese post-'70s artist, cementing his position as a leading figure in contemporary art.

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Ding Yi

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Ding Yi, Appearance of Crosses 99-9, 1999. Modern & Contemporary Art Evening Sale Hong Kong.

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Since establishing his “+” cross system in 1988, Ding Yi has developed a sustained abstract language grounded in repetition, structure, and the rejection of narrative. Appearance of Crosses 99-9, created in 1999, marks a key moment in this evolution, as his practice began to engage more directly with material and context.

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Here, Ding works with industrial tartan fabric, onto which he applies his cross motif. Once associated with Western identity, the material had by the 1990s entered everyday circulation in China. Within this altered context, Ding constructs a precise visual system that reflects the rhythms and density of urban life, translating broader social conditions into a disciplined formal language.

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As one of the leading figures in Chinese contemporary art, Ding Yi’s works are held in the collections of numerous public and private institutions, including: the British Museum, the Centre Pompidou, the Metropolitan Museum of Art, the UBS Art Collection, the Leeum Samsung Museum of Art, the Hamburg City Collection, the M+ Collection, the National Art Museum of China, the Guangdong Museum of Art, the Power Station of Art (PSA), the Museum of Contemporary Art Shanghai (MOCA Shanghai), the Long Museum, and the He Art Museum.

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Cui Jie

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Cui Jie, Escape #2, 2017. Modern & Contemporary Art Sale Hong Kong.

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\n
What I paint is not merely architecture, but emotions and the inner feelings one experiences when confronting urban life.
\n
\n—Cui Jie
\n

\n\n

Born in Shanghai in 1983, Cui Jie stands as a significant representative of China’s post-'80s female artists. Having grown up amidst the rapid urban transformations following the Reform and Opening-up era, she inquires relentlessly into the development of modernisation, urban landscapes, and the uniform, monotonous style of contemporary architecture, which constitute the core themes in her urban series of paintings.

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Her practice centres on the emotional and psychological dimensions of urban life, using architecture as both subject and metaphor. The cities depicted in her work are intimately linked to her personal experiences: from Bauhaus principles and the ideological aesthetics of Chinese propaganda art to Soviet communist aesthetics and the Japanese Metabolism architectural movement. By depicting specific cities, buildings, and landscapes, Cui Jie examines the history embedded within visual perspectives, astutely raising questions about the political implications of distance, angle, and time.

\n\n

In Escape #2, she employs layered collage and multiple perspectives to construct a fragmented spatial field in which geometric forms and schematic lines evoke both architectural drawings and imagined structures.

\n\n

By collaging buildings from different cities and eras, Cui creates a geographically displaced urban landscape. The work captures the density and speed of contemporary urbanisation, while its rigid lines and fractured forms reflect the tension between ordered systems and dislocated, fragmented lived experiences.

\n\n

The austere straight lines, rigid planes, and sharp cutting relationships position the composition between Bauhaus-inspired rational geometry and the robust texture of Soviet art, revealing the alienated and tense relationship between humanity and the city.

\n\n

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Cui Jie, Western City Gate, 2017/2021. Modern & Contemporary Art Sale Hong Kong.

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Extending her architectural inquiry into three dimensions, Western City Gate is based on the 1970s Belgrade landmark of the same name. Reconstructed through photopolymer resin 3D printing, the work preserves the building’s mass and geometry while introducing a subtle sense of estrangement.

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At once recognisable and displaced, the structure appears as something that could have existed elsewhere, perhaps in Beijing or Shanghai, yet no longer does. In the context of rapid urban transformation, the work reflects how memory becomes unstable — no longer fixed, but reconstructed through imagination.

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Cui Jie’s works are held in the collections of institutions including the Centre Pompidou, Paris; the Museum of Modern Art, New York; the Art Institute of Chicago; the Astrup Fearnley Museum of Modern Art; the Rubell Art Foundation; the Kistefos Museum; and M+ in Hong Kong. Her recent major exhibitions include: Tai Kwun Contemporary, Hong Kong (2019); Singapore Biennale 2025: Pure Intent, Singapore Art Museum, Singapore (2025); West Bund Museum, Shanghai, China (2025) and PoMo Museum, Trondheim, Norway (2025).

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Discover More

\n\n

Further works in the sale continue this exploration of image, memory, and material across contemporary Chinese practice.

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Zeng Fanzhi, Portrait 08-12-4, 2008. Modern & Contemporary Art Hong Kong.

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Liang Yuanwei, 6 works: Piece of Life, 2006–2007. Modern & Contemporary Art Hong Kong.

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Discover more from Modern & Contemporary Art Hong Kong >

\n\n

\n","2026-03-23T15:27:07.000000Z","https://www.phillips.com/article/167154183/shifting-forms-memory-and-the-contemporary-condition-hong-kong-auction-march-2026",8994,5254,167154183,"https://flockler.com/thumbs/sites/889/chinesecon-lead-dc55f9df-58e3-456f-abd9-5cded9300fd6_s600x0.jpg","現代及當代藝術香港拍賣的一系列中國當代作品，以肖像、風景、抽象與建築不同題材描繪記憶、轉化以及當代視覺語彙的流動性。","流動形態 - 記憶與集體經驗的演變","

張曉剛《血緣系列—父女》，2005年作。現代及當代藝術晚間拍賣

\n\n

富藝斯將於 2026 年 3 月 29 日在香港呈獻「現代及當代藝術拍賣」，精選匯聚多位在中國當代藝術領域中具有關鍵地位的藝術家，他們的實踐跨越繪畫、抽象與建築形式。

\n\n

從張曉剛充滿心理張力的肖像、黃宇興光彩奪目的風景、丁乙嚴謹克制的抽象語彙，到崔潔碎片化的城市景觀，這些作品勾勒出個人記憶與集體經驗之間不斷演變的關係。

\n\n

張曉剛

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張曉剛是中國當代藝術中最具國際影響力的代表人物之一，其中《血緣大家庭》系列更是他藝術生涯的關鍵轉折。創作於 2005 年的《血緣系列—父女》，取材自老式中國照片的視覺語言，並將其轉化為帶有情感距離、幾乎不見家庭親密的影像，呈現出一種疏離而深刻的凝視。

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經過一個階段後，我才逐步認識到，在那些標準化的『全家福』中，打動我的除了那些歷史背景之外，正是那種被模式化的『修飾感』。其中包含著中國俗文化長期以來所特有的審美意識，比如模糊個性，『充滿詩意』的中性化美感等等。
\n– 張曉剛
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藝術家既採用現實描寫也營造了遠離現實的氛圍，巧妙地以藍色、灰色複製了黑白照片的外觀和感覺。畫布的表面一絲不苟，極為嚴謹。藝術家一方面用極其細膩的筆觸與多層薄漆暈染，創造出類似鏡頭光暈的發光效果；另一方面在乾漆上做最後處理，以此構建出像是舊照片上的斑駁紋理。畫面中，人物缺失了母親的角色，這也似乎在隱喻中國社會在經濟蓬勃發展時，社會缺失的情感互動、心理支撐以及社會資源分配的不平衡。

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1995年，張曉剛在威尼斯雙年展上展出了 13 幅《大家庭》畫作，標誌著其傑出而多產的藝術生涯的開端。張曉剛的作品他的作品被國際機構永久收藏，包括：上海昊美術館；上海龍美術館；香港M+博物館希克收藏；紐約古根海姆博物館；巴黎路易威登基金會；首爾國立現代美術館；日本沖繩縣立博物館和美術館；以及坎培拉澳大利亞國家美術館等。

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黃宇興

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黃宇興《月圓》， 2017至2018年作。現代及當代藝術晚間拍賣

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「喜馬拉雅山是我開始發現和理解自己——進而理解周圍世界——的地方。我以不同的方式在不同的時間探訪同一個地方。因為每隔三五年，我都能感受到那個地方和我自己都發生了怎樣的變化。它就像一個里程碑或參照點。」
\n—黃宇興
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《月圓》為藝術家相當成熟時期的作品。它不僅匯聚了黃宇興創作中最核心的視覺符號——螢光色、山脈、河流與氣泡，它亦承載了藝術家在創作巔峰期的心血與時光。在這幅畫中，黃宇興將中國傳統山水畫的氣韻，轉譯為符合21世紀當代人心理與視覺經驗的「霓虹山水」，在時間的洪流與色彩的狂歡中，為觀者建構了一處光芒萬丈的精神庇護所。

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畫面由下至上，層層遞進：底部是絢爛至極、閃閃發光的河流，以及象徵生命力與幻滅的「氣泡」；中段，數座以霓虹彩虹般線條勾勒的山峰拔地而起，山體不再是厚重的岩石，而像是由無數條流動的光束與能量波編織而成。畫面的最上層，山脈戛然消融於一片寶石藍的天際線中，天空一輪明月，帶來一種歷經喧囂後的平靜。

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黃宇興（生於1975年）是當今中國「70後」當代藝術家中，最具市場號召力與國際影響力的領軍人物。他的市場表現在近年來呈現爆發式增長，受到亞洲及歐美藏家、機構的高度追捧。2021年一舉創下中國70後藝術家的最高拍賣紀錄，確立了其在當代藝術中的領軍地位。

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丁乙

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丁乙《十示 99-9》1999年作。現代及當代藝術晚間拍賣

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作為中國抽象藝術中極具方法論意識的藝術家，丁乙自1988年確立「十示」視覺體系後，便將「十」字這一去敘事化符號作為創作核心，構建出中國當代藝術史上最純粹且持久的抽象結構。創作於1999年的《十示 99-9》，是丁乙創作演進的關鍵節點，也為其此後十二年的「螢光色」階段埋下伏筆。
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\n丁乙以工業生產的蘇格蘭格子布替代傳統亞麻布，這種原本承載西方氏族身份象徵的織物，在90年代的中國已成為日常消費品，丁乙從這種「文化脫敏」狀態出發，在布面底紋上疊加「十」字結構，重組為全新視覺系統。

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作為中國當代藝術的重要代表人物之一，丁乙的作品被眾多公共與私人機構收藏，其中包括：大英博物館、龐畢度藝術中心、大都會藝術博物館、瑞銀藝術收藏（UBS Art Collection）、三星美術館 Leeum、漢堡市政府收藏、M+ 收藏、中國美術館、廣東美術館、上海當代藝術博物館（PSA）、上海當代藝術館（MOCA Shanghai）、龍美術館以及和美術館（He Art Museum）。

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崔潔

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崔潔《逃離第2號》，2017年作。現代及當代藝術精選拍賣

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「我畫的不只是建築，更是情感和面對都市生活的內心感受。」
\n—崔潔
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崔潔於1983年在上海出生，是中國80後女性藝術家的重要代表之一。她成長於改革開放後城市急遽變遷的時代，現代化、城市景觀的發展和當代建築統一且乏味的風格，一直是崔潔城市系列繪畫所討論的核心主題。

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她在作品中描繪的城市與自身的個人經歷密切相關：在這些畫面中，可以辨識出從包浩斯原則、中國宣傳藝術意識形態、蘇聯共產主義美學到日本「新陳代謝派」（Metabolism）建築運動等廣泛而多元的影響。透過描繪具體的城市、建築與景觀，崔潔探討了視覺透視背後所嵌入的歷史，並敏銳地提出關於距離、角度與時間所蘊含的政治意義。
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\n《逃離第2號》以藝術家標誌性的層疊拼貼與多重視角建構空間：鋒利的幾何切面與如建築草圖般的線條交錯密集，硬朗的直線結構被不斷拆解、重組，打破傳統單點透視，使畫面始終游移於真實與虛構之間。

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這些密集堆疊的幾何建築不僅是中國高速城市化的視覺寫照，也隱含著對現代城市經驗的反思：高度秩序化的建築結構不斷壓縮個體空間，碎片化的形態映射著被切割的生活經驗。冷峻的直線、堅硬的塊面與鋒利的切割關係，使畫面在包浩斯式理性幾何與蘇聯藝術的硬朗質感之間，呈現出人與城市之間疏離而緊張的關係。
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崔潔《西城門》 2017/2021年作。現代及當代藝術精選拍賣

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《西城門》原型來自貝爾格勒1970年代建成的野獸派地標建築——西城門。藝術家以3D列印方式重構其粗獷幾何與厚重體量，使建築既保留歷史語境，又帶有某種似曾相識的陌生感。

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正如她所言，這些建築彷彿曾出現在北京或上海，卻又早已消失，在急速城市化的進程中，記憶只能透過想像被重新建構。

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崔潔的作品被巴黎龐畢度藝術中心、紐約現代藝術博物館、芝加哥藝術博物館、阿斯楚普費恩利（Astrup Fearnley）現代藝術博物館、魯貝爾藝術基金會、Kistefos美術館、香港M+收藏等機構收藏。近期的重要展覽包括大館當代美術館，；〈2025 新加坡雙年展：純粹用意〉，新加坡藝術博物館，新加坡（2025）；西岸美術館，上海，中國（2025）；PoMo博物館，特隆赫姆，挪威（2025）等。

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Internationally known for her extraordinary and otherworldly sculptures and installations, Kusama is also well-respected and widely collected as a painter. Originally anticipating the minimalist art movement, her Infinity Nets paintings now reside in notable institutional collections, including the Solomon R. Guggenheim Museum, New York, Museum of Modern Art, New York, Los Angeles County Museum of Art, and Museum of Contemporary Art in Tokyo, among others.

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She lives in a psychiatric facility in Tokyo, voluntarily

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Yayoi Kusama, Infinity Dots, 1992. Modern & Contemporary Art Hong Kong.

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

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

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

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

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She’s had a lifelong aversion to sex — but represented free love

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

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

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

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Yayoi Kusama, Untitled, 1965. Modern & Contemporary Art Hong Kong.

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

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

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

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

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

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

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Yayoi Kusama, River, 1994. Modern & Contemporary Art Hong Kong.

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She was a fashionista well before her Louis Vuitton collaborations

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

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Yayoi Kusama, Macaroni Dress, 1963. Modern & Contemporary Art Hong Kong.

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In 2012, the living legend collaborated with French fashion house Louis Vuitton and its Creative Director Marc Jacobs to reveal the Infinity Dots capsule collection. The fashion house and artist topped that collaboration in 2023 with its worldwide CREATING INFINITY: THE WORLDS OF LOUIS VUITTON AND YAYOI KUSAMA campaign, which produced a series of new creations adorned in original motifs, such as Pumpkins and Figurative Flowers, inspired by Kusama’s iconic works.

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But Kusama has often shared her long-standing fondness for fashion through her art, often employing mannequins in her individual artworks and installations.

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She uses polka dots to get out of her head

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

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

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

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Yayoi Kusama, Flower (A), 1985. Modern & Contemporary Art Hong Kong.

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She grew up on a massive plant nursery and seed farm in Japan

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Yayoi Kusama, Shinanoji, 1984. Modern & Contemporary Art Hong Kong.

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Kusama’s family farm provided the backdrop for her first hallucinations. As a child, she would wander into the fields of flowers, and it was there she experienced her first episodes of “self-obliteration” — where the patterns of the flowers seemed to come to life, multiply infinitely, and swallow her whole. Looking across her body of work, this is easy to see.

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Yayoi Kusama, FLOWERS (1), 1985. Modern & Contemporary Art Hong Kong.

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Discover more from Modern & Contemporary Art Hong Kong >

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草間彌生《心中夕暉》，2020年作。現代及當代藝術晚間拍賣。

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草間彌生生於1929年，自小立志成為藝術家。從10歲起，她就以家族苗圃和種子農場出售的南瓜為靈感，創作南瓜畫作。1950年代，她在家鄉日本成功舉辦個展後，逃離戰時日本的保守主義和父權社會，毅然出走美國，尋找新機會。她開始在西雅圖生活和展示作品，與喬治亞．歐姬芙（Georgia O’Keeffe）通信；後者更鼓勵草間彌生於1958年搬到紐約。當時正值抽象表現主義藝術運動的鼎盛時期，以及新興波普藝術界的風口浪尖。經過七十年磨練自己的反主流文化、女權主義和幻想藝術品牌，草間彌生被認為是世界上最成功的在世女性藝術家。在即將於香港舉行的富藝斯現代及當代藝術拍賣前，認識關於這位畫時代藝術家的重要七件事。

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草間彌生是史上最高拍賣成交紀錄的在世女藝術家

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

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

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草間彌生，《無題（網）》，1959年作。成交價10,496,000美元。現代及當代藝術晚間拍賣，2022年5月，紐約。

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

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\n她自願入住東京的精神病院

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草間彌生《無限的點》，1992年作。現代及當代藝術精選拍賣。

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

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

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

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

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她終生厭性，卻代表著自由的愛

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

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

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

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草間彌生《無題》， 1965年作。現代及當代藝術精選拍賣。

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

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草間彌生的《南瓜》與安迪．沃荷的《湯罐》並駕齊驅

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

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

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

\n\n

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

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草間彌生《河》，1994年作。現代及當代藝術精選拍賣。

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與路易威登合作之前，她已是一位時尚達人

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

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草間彌生《通心粉裙》，1963年作。現代及當代藝術精選拍賣。

\n\n

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

\n\n

草間彌生長期透過她的藝術分享對時尚的熱愛，並經常以人體藝術模型作為個別創作及裝置的媒介之一。

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她用波點來忘憂解困

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「綜觀數以百萬計的其他天體，我們的地球就像一個小圓點。」— 草間彌生

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

\n\n

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

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草間彌生《花（A）》，1985年作。現代及當代藝術精選拍賣。

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成長於大型植物苗圃與種子農場

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草間彌生《信濃路》，1984年作。現代及當代藝術精選拍賣。

\n\n

草間彌生家族的農場成為她最初幻覺的背景。童年時期，她常獨自走進花田之中，在那裡首次經歷「自我消融」的狀態，花朵的圖案彷彿在不斷繁殖、無限延伸，最終將她整個人吞沒。回顧她一生的創作，這樣的經驗痕跡清晰可見。

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草間彌生，《花（1）》，1985年作。現代及當代藝術精選拍賣。

\n\n

The Carrier of Civilisation, The Metaphor of Culture

\n\n

\"\" — Artist’s Private Collection: The Republican Era of Student’s Dictionary

\n\n

The inspiration for the Dictionary series originated from a small, hardcover dictionary cherished in the artist’s private collection—originally titled the Student’s Dictionary.
\n

\n\n

\"\" — The Publisher's Historical Address and Current Appearance

\n\n

On the first day of school, every elementary student is required to have a dictionary in their backpack. For them, the dictionary is the starting point—the 'point of origin' where they transition from the ignorance of childhood toward human civilisation. It marks the very beginning of their journey to recognise characters, acquire knowledge, and learn about the civilizing history of mankind.

\n\n

\n\n

\nThe artist’s choice of the 'dictionary' as a subject is itself an act of profound cultural depth. A dictionary is a vessel for language, an index of civilisation, and a collection of the smallest units of knowledge. By magnifying, dissecting, and scrutinising this symbol—which condenses thousands of years of culture—the artist seems to be asking:
\n

\n\n

In today’s information explosion, what is our relationship with 'knowledge' itself? Is it passive consumption, or is it like his process of painting—re-engaging with it stroke by stroke?
\n

\n\n

This line of thinking elevates Dictionary beyond mere formal exploration, turning it into a philosophical text on cultural memory and ways of perceiving.

\n\n

Reflections on Viewing: The Macro and Micro in 'Seeing the Great in the Small'

\n\n

As one of the earliest contemporary Chinese ink artists to incorporate scholar's stones into his work, Liu Dan began focusing on and thinking deeply about stones in the 1980s. His work has revitalised contemporary understanding and expanded the creative possibilities of scholar's stones. He believes that stones are a vital element of form in Chinese painting. By approaching the subject of traditional scholar's stones, his goal is to explore the sense of time and space behind 'shanshui' (landscape) painting, as well as the shift in this unique pictorial language from the macro to the micro.
\n

\n\n

\"\" — Liu Dan in his studio (Image courtesy of the Artist’s Studio)

\n\n

\nIn the creation of the Dictionary series, the palm-sized Dictionary is rendered on a strikingly grand scale. A common, pocket-sized dictionary used by primary school students has been physically magnified. Unlike most still-life paintings that employ an eye-level or high-angle view, this work adopts an extremely rare low-angle, upward perspective.
\n

\n\n

\n\n

\nWhen viewers stand in front of this monumental masterpiece, they seem to instantly shrink, left to gaze upward from the bottom of a giant dictionary. This reversal of perspective far more than just a play of form; it is Liu Dan’s embodiment of the relationship between humanity and civilisation.

\n\n

\n
\nThe artist further breaks away from focal perspective by shaping the sides of the book into parallel lines. As the viewer looks up at the work, the giant dictionary seems to surge forward. Faced with a vast system of civilisation constructed from millennia of knowledge and language, humanity should naturally maintain a posture of reverence and awe. This perspective also implies a conscious gaze toward the established order of knowledge, endowing the image with a powerful sense of solemnity and sanctity, while reigniting the viewer's imaginative interaction with the world.
\n

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\n\n

\nLiu Dan’s depictions possess a nearly austere "hyper-realistic" quality—the fibers of the paper, the halftone dots of the printing, and the creases of the binding are all reconstructed with absolute precision. Yet this realism is not the mechanical reproduction found in Western Photorealism; rather, it is "written" stroke by stroke through the classical Chinese principles of structural use of the brush and spirit resonance. Using the most traditional ink-and-brush techniques, he achieves a sanctification of the most mundane objects.

\n\n

\n
\nThis ability to extract Oriental poetics from extreme visual reality has secured a unique place for Dictionary in art history preserves the "warmth" of the brush and ink within a reconstructed visual order.

\n\n

\n
\nTechnically, Liu Dan’s treatment of Dictionary demonstrates his absolute control over ink lines and volume; his exquisite drafting echoes the ancients' focus on compositional structure and movement. This extreme restoration of local details simultaneously carries the gentle, refined atmosphere of Eastern painting.

\n\n

\nIn the composition, the dictionary's spine, its battered edges, and the layers of paper are treated as a monumental architectural structure. The undulating, yellowed pages possess a texture and brushwork reminiscent of the hollows and ravines found in Taihu stones; meanwhile, the heavy volume of the book exhibits the rigor, power, and sense of eternity typical of stone carving or architectural construction.

\n\n

\n
\nThe Dictionary series is the crystallisation of Liu Dan’s long-term refinement and his repeated gaze back through the river of time. In an interview, when asked about this massive dictionary painting, Liu Dan posed a profoundly deep question regarding contemporary art:
\n

\n\n

I often think that when a person is reading a painting, they should also try to ask themselves—is this painting also reading you at the same time?" — Liu Dan
\nThis statement provides the core intellectual thread for Dictionary. When viewers stand before this monumental work, believing they are "reading" the details of the image, the massive dictionary—with its slightly parted pages—is in fact silently scrutinising them with its unshakable volume and profound sense of history.

\n\n

\n
\nThis exchange between subject and object shatters the traditional logic of viewing ink wash painting. It creates a perfect synthesis between art historical narrative and the artist's personal philosophy, which is precisely why Liu Dan’s ink practice stands at the forefront of global contemporary art.
\n

\n\n

\nLiu Dan masterfully employs traditional Chinese ink techniques to subvert the observational logic of the physical world. The work is striking in its grand scale: a common pocket dictionary for elementary school students is dramatically enlarged, completely overturning the usual modes of viewing and transforming a familiar object into a majestic, immersive visual presence.

\n\n

\n
\nYet the true essence of this work lies in Liu Dan’s perfect fusion of opposing forces. While he magnifies the subject with extreme realism and precision, every brushstroke remains deeply rooted in the lyrical charm and subtle vital energy of classical Chinese painting. Between the extremes of visual reality and the Eastern spirit of expressive intent, he carves out an aesthetic realm that leaves the viewer spellbound.

\n","Ο","◆","https://assets.phillips.com/auctions/HK010226/231914_002.jpg","https://assets.phillips.com/auctions/HK010226/231914_003.jpg","https://assets.phillips.com/auctions/HK010226/231914_004.jpg","https://assets.phillips.com/auctions/HK010226/231914_005.jpg","https://assets.phillips.com/auctions/HK010226/231914_006.jpg",59852,41214,41210,"2026-03-29T08:41:17.551000Z",9000000,{"_231":232,"_459":234,"_460":843,"_461":844},[838,839,840,841,842],{"_231":474,"_459":475,"_460":851,"_461":852},{"_231":471,"_459":471,"_460":849,"_461":850},{"_231":467,"_459":468,"_460":847,"_461":848},{"_231":463,"_459":464,"_460":845,"_461":846},{"_231":232,"_459":234,"_460":843,"_461":844},4500000,3500000,577000,449000,496000,386000,452000,352000,429000,334000,"229845",2056,{"_450":1000,"_452":1001},"https://www.phillips.com/detail/matthew-wong/229845","The Recluse",19154,"Matthew Wong",{"_440":996,"_442":997,"_444":998,"_446":999,"_62":854,"_58":853,"_448":863,"_449":93},3850000,14190000,11000000,"

Matthew Wong was a Canadian artist who enjoyed growing acclaim for his lush, dreamlike scenes that play on a rich tradition of art historical precedents. His work depicts the vivid but often melancholy terrain between sleep and wakefulness, lonely landscapes and isolated interiors rendered with a carefree hand and an ebullient palette, yet which contain an ineffable sorrow and a palpable but unnamed longing.

\n\n

Wong spent his childhood between cultures: he was born in Toronto, Canada and at age 7 moved with his family to Hong Kong where he lived until he was 15, at which time the family returned to Canada. Wong began to experiment artistically already well into his adulthood, first with photography, which he pursued at the postgraduate level at the City University of Hong Kong, and then with painting. A self-taught painter, Wong developed his aptitude for the medium by immersing himself in online conversations with other artists and dedicated personal study of the history of art. His paintings attracted almost immediate attention, but Wong tragically passed away in 2019 just as his work was beginning to receive widespread critical praise.

\n\n

\n","Canadian","

Kimberley Wong
\nAssociate Specialist, Head of Sale
\nModern & Contemporary Art, Hong Kong
\n+852 2318 2095
\nkimberleywong@phillips.com
\n

\n","signed, titled and dated '\"THE RECLUSE\" Wong 2017 [in Chinese]' on the reverse","61 x 50.8 cm. (24 x 20 in.)","oil on canvas","Painted in 2017, in Canada.","Private Collection (acquired directly from the artist)\r\nSotheby's, Hong Kong, 20 April 2021, lot 570\r\nAcquired at the above sale by the present owner","https://assets.phillips.com/auctions/HK010426/229845_001.jpg",[994,995],[987],"This work is in very good condition. When examined under ultraviolet light, there is no indication of inpainting. This work is framed in a white painted wood frame.","HK010426",{"_231":232,"_233":234},{"_62":854,"_138":876,"_161":738,"_163":164,"_165":166,"_167":879,"_170":880,"_172":881,"_174":75,"_175":77,"_176":882,"_178":883,"_180":883,"_181":884,"_183":885,"_118":866,"_185":90,"_186":90,"_187":93,"_188":90,"_189":90,"_190":90,"_191":93,"_192":90,"_193":90,"_111":93,"_194":90,"_195":93,"_196":90,"_197":90,"_198":90,"_142":93,"_102":90,"_103":93,"_199":886,"_201":887,"_205":888,"_207":889,"_140":890,"_212":891,"_216":892,"_567":893,"_218":894},"2026-06-02T08:00:00.000000Z",40000,8500000,"https://assets.phillips.com/image/upload/t_Website_AuctionPageHero/v1778480160/auctions/HK010426/HK010426.jpg","JessieHui@phillips.com","

View Conditions of Sale >
\n
\nPriority Bidding is here! Secure a lower Buyer’s Premium. Learn more >

\n","Hong Kong Auction 2 June 2026",[966,967,968,969,970,971,972],{"_361":962,"_372":963,"_375":964},[912,913,914,915,916],[911],{"_231":232,"_233":234},39,"https://www.phillips.com/auction/HK010426",[895,896],"https://dist.phillips.com/content/web/auction-results/auctionResultsFile_HK010426.pdf",{"_138":904,"_62":905,"_161":906,"_574":575,"_176":907,"_216":908,"_167":909,"_168":910,"_163":164,"_165":166},{"_138":897,"_62":898,"_161":899,"_574":575,"_176":900,"_216":901,"_167":902,"_168":903,"_163":164,"_165":166},"HK010926",2105,"Zao Wou-Ki: A Printmaker’s Vision from The 1950s – 1990s, Online Auction, Hong Kong","https://assets.phillips.com/image/upload/t_Website_AuctionPageHero/v1779088904/auctions/HK010926/HK010926.jpg","https://www.phillips.com/auction/HK010926","2026-05-29T04:00:00.000000Z","2026-06-09T06:00:00.000000Z","HK010126",2053,"Modern & Contemporary Art: Online Auction, Hong Kong","https://assets.phillips.com/image/upload/t_Website_AuctionPageHero/v1778058435/auctions/HK010126/HK010126.jpg","https://www.phillips.com/auction/HK010126","2026-05-20T04:00:00.000000Z","2026-06-03T06:00:00.000000Z",{"_236":345,"_238":737,"_240":738},{"_250":953,"_252":738,"_253":954,"_50":955,"_256":956,"_258":957,"_260":610,"_264":265,"_266":267,"_268":958,"_78":267,"_271":959,"_273":960,"_275":961},{"_250":944,"_252":738,"_253":945,"_50":946,"_256":947,"_258":948,"_264":265,"_266":267,"_268":949,"_78":345,"_271":950,"_273":951,"_275":952},{"_250":935,"_252":738,"_253":936,"_50":937,"_256":938,"_258":939,"_260":610,"_264":265,"_266":267,"_268":940,"_78":341,"_271":941,"_273":942,"_275":943},{"_250":926,"_252":738,"_253":927,"_50":928,"_256":929,"_258":930,"_260":591,"_264":265,"_266":267,"_268":931,"_78":329,"_271":932,"_273":933,"_275":934},{"_250":917,"_252":738,"_253":918,"_50":919,"_256":920,"_258":921,"_260":610,"_264":265,"_266":267,"_268":922,"_78":318,"_271":923,"_273":924,"_275":925},"https://flockler.com/thumbs/sites/889/priority-bidding_3_2-8454aef4-84a3-4957-8b6e-e8712a4dcb8b_s600x0.jpg","How to save up to 4% with Priority Bidding — exclusively at Phillips.","Priority Bidding 101","

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中文閱讀

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What is a Priority Bid?

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Priority Bids are written, binding bids that must be placed no less than 48 hours in advance of an auction’s start time. The bid must be equal to or greater than the lot’s published low estimate and placed using Phillips’ absentee bid forms.

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Bidders who have placed Priority Bids ahead of the auction, if they are the winning bidder and satisfy the other conditions of Priority Bidding, will benefit from a Buyer’s Premium rate which is significantly lower than the Buyer’s Premium rate otherwise. This benefit applies whether their winning bid is at the amount of their early Priority Bid or a higher bid placed subsequently by them bidding live in the auction.

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The new Buyer’s Premium structure featuring Priority Bidding rates is effective from 1 September 2025 and applies to all live auctions in the Fall 2025 season and for all categories, excluding Watches.

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Watch auctions (both live and timed online auctions) will continue using the same Buyer’s Premium rates that applied in the spring 2025 sale season and will not be eligible for Priority Bidding. Details of these rates can be found here.

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Timed online-only auctions will be subject to the new standard Buyer’s Premium rates and are not currently eligible for Priority Bidding. You can find details of these rates here.

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How do I place a Priority Bid?

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To be eligible for a lower Buyer’s Premium through the scheme, you must leave a written bid at least 48 hours before the auction. The bid must be a written absentee bid.

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Submitting Priority Bids is simple:

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• Complete Phillips’ Absentee Bid Form with details of the Absentee Bid(s) you want to submit. You can download and complete the Bid Form here.

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• Ensure your written absentee Bids are at or above the published low estimate of the Lots you are bidding on.

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• Sign and send the form to Phillips’ Bids Department in the auction location before the 48-hour pre-auction cut-off. Forms can be emailed using the contact details found below.

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Please note that Priority Bids cannot be cancelled.

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Bids New York
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More questions? View the full FAQ, including sample scenarios, or contact the bids team to discuss further.

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Learn more about Priority Bidding >

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\n","2025-09-03T19:11:05.000000Z","https://www.phillips.com/article/161930391/priority-bidding-101",9556,5033,161930391,"https://flockler.com/thumbs/sites/889/chen-yifei-91751b6c-4d7b-4d7d-8584-e2a8efe0a4e1_s600x0.jpg","透過六位藝術家的風景創作體會畫中意境，實地遊歷現實中相映的山河之境。","與風景對話 : 現實和藝術的相匯","

陳逸飛《拱橋倒影（蘇州）》，1987年作。現代及當代藝術精選拍賣，香港。

\n\n

風景畫最令人著迷之處之一在於它悄然改變了我們觀看世界的方式。當我們從畫廊展覽沉思過後步向生活日常，周遭景物往往因而煥然一新，無論是早已熟悉的城市角落，抑或初次踏足的遠方風景。這或許正是藝術最動人的超然經驗之一：我們逐漸明白，對藝術的感受並不僅止於駐足作品之前的片刻，而在於個別藝術家的獨特視角，如何改變我們理解萬物的感觀。

\n\n

然而，在循著這些精彩作品的視野踏上想像中的旅程、探索世界各地嶄新景觀之前，富藝斯誠邀閣下親臨我們的展覽空間，近距離欣賞這些在6月2日香港《現代及當代藝術精選拍賣》的傑作。

\n\n

王俊傑

\n\n

\n\n

王俊傑《隱居者》，2017年作。現代及當代藝術精選拍賣，香港。

\n\n

關於作品:

\n\n

《隱居者》創作於2017年，也是王俊傑在其短暫而深具影響力的七年藝術生涯中留下的重要作品，喚起一片深具內省氣息且超然於現實之外的精神風景。畫中一名孤獨人物靜臥於蒼翠欲滴的翠綠樹下，在以密集點彩筆觸層層疊染而成的巍峨山嶽面前顯得渺小。這一孤獨的身影宛如藝術家本人的化身，在既安靜又令人窒息的山水之間默默前行。王以濃烈色彩與豐富肌理灌注畫面，令人聯想後印象派巨匠保羅·高更（Paul Gauguin）與文森·梵谷（Vincent van Gogh）的經典傑作。

\n\n

\n\n

香港大東山。圖片來源： Lyndon Giffard Images / Alamy

\n\n

現實景點:

\n\n

王俊傑每日長時間漫步、沉思與攝影，從自然與行旅之中汲取靈感，不妨循著他的步伐，暫時遠離屏幕，步入真實風景之中。建議閣下登上香港大東山蜿蜒壯闊的山徑，感受層疊山脊在橙金暮色中的廣袤氣息。從山野重返畫廊，大可再次凝視王俊傑的作品時，或將發現自身的觀看方式已悄然改變，畫面之中那些先前未曾察覺的幽微層次與深藏意境，也將逐漸浮現。

\n\n

陳逸飛

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\n\n

陳逸飛《拱橋倒影（蘇州）》，1987年作。現代及當代藝術精選拍賣，香港。

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關於作品:

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拍品屬於陳逸飛備受讚譽的《水鄉》系列，透過江南古鎮的水岸景致，描繪出一種充滿懷舊氣息而寧靜悠遠的傳統中國意象。藝術家巧妙融合西方油畫技法與富戲劇性的明暗處理，使歷史悠久的磚牆與粼粼水面呈現出富有光線與詩意的質感。正因成功結合歐洲寫實主義語彙與深植中國文化傳統的主題內涵，陳逸飛的作品長久以來深受全球藏家青睞，在文化根源、民族情感與國際視野之間，展現出難得而優雅的平衡。

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中國江蘇周莊水鄉夜色。圖片來源： Panther Media Global / Alamy

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現實景點:

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若欲親身步入藝術家筆下的詩意世界，不妨造訪蘇州著名的周莊水鄉。在那裡，閣下大可將眼前景致視作一場關於光影對比的觀察研究：選擇一座石橋或一面磚牆，細細體會晨昏之間光線與陰影如何產生截然不同的變化。當正午的明亮日光逐漸過渡至暮色中的明暗交錯，水面之上的層次與氣氛亦隨之轉變，閣下或可從中逐漸理解陳逸飛如何捕捉尋常建築之美。

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黃進曦

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黃進曦《巨浪裏的天星》，2021年作。現代及當代藝術精選拍賣，香港。

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關於作品:

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構思於2021年旅遊限制期間，黃進曦的《巨浪裏的天星》展現了一場關於想像力疆界的精妙探索。畫中藝術家親手製作的香港經典天星小輪模型，航行於饒富葛飾北齋畫風的洶湧翻騰大浪之間，而這些波濤直接自一本攤開的書頁中奔湧而出。作品並非單純的逃離現實，而是在受限的靜止狀態與想像中的自由流動之間，構築出一種微妙而深刻的張力。

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香港維多利亞港。圖片來源：robertharing / Alamy

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現實景點:

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建議閣下前往香港維多利亞港繁忙的海濱，凝望標誌性的天星小輪緩緩橫渡海面。駐足岸邊時，請細心觀察光線如何在流動的水波之間閃爍變幻，或許感受到水流即使看似平靜，依然持續推動著往來船隻前行的力量。當思緒逐漸漫遊，不妨想像在這片海域之上，還可能展開哪些宏大而未知的場景？又或者，我們能否將自身的內在世界投射於眼前不斷流動的城市風景之中？

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莎拉·休斯

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莎拉·休斯《多層》， 2020年作。現代及當代藝術精選拍賣，香港。

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關於作品:

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同樣創作於2020年全球隔離時期，莎拉·休斯的《多層》充分展現藝術家創作語言的重要轉變：從早期描繪私密室內空間的作品，逐步邁向解放佈滿心理投射意味的解放想像風景。儘管尺幅相對較小，這件色彩鮮明的畫作卻散發出近乎爆發性的能量，模糊了具象描繪與純粹抽象之間的界線。作品中大膽而富創造性的色彩運用，以及急迫的姿態性筆觸，既令人聯想到野獸派的鮮烈色彩語言，亦呼應抽象表現主義中即興而自由的創作精神。此作誕生於藝術家創作生涯中備受矚目的成熟時期，緊隨她在2017年惠特尼雙年展嶄露頭角之後，同時印證了休斯作品何以得以立足於紐約大都會美術館以至北京木木美術館等全球重要機構收藏之中。

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美國加州紅杉國家公園的天然景色。圖片來源：Hemis / Alamy

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現實景點:

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建議拜訪巨木參天、近乎超現實般壯麗的美國紅杉國家公園（Sequoia National Park）。當閣下置身於這些龐然古木之間，不妨微微瞇起雙眼，然後再次觀看眼前景致：那些原本未曾察覺的肌理、輪廓與原始形態是否開始悄然浮現？之後，不妨閉上雙眼，憑藉記憶重新描繪那片森林，讓感知與情緒主導線條，而非拘泥於現實的精確再現。如此觀看與創作方式，正與藝術家構築鮮明心理的繪畫風格彼此呼應。

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安德烈·布拉吉利

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安德烈·布拉吉利《遼闊的粉紅天空》，1988年作。現代及當代藝術精選拍賣，香港。

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關於作品:

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創作於藝術家重要回顧展接連舉辦的關鍵時期（其中包括1988年昂蒂布畢卡索美術館的重要展覽），安德烈·布拉吉利的《遼闊的粉紅天空》充分體現卓越畫家的地位與獨特的藝術語言。畫中藝術家的標誌性馬匹主題已被抽離寫實細節，不再是具象描繪，而成為關於生命力與自然氛圍親密共鳴的抒情象徵。透過瀰漫鮮麗粉色調的畫面，布拉吉利將原本真實的風景轉化為佈滿節奏感與夢境般氣息的精神空間。這件寧靜而富詩意的作品亦說明了藝術家的創作，何以長久以來深受全球重要藏家推崇與珍愛。

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蒙古的日落。圖片來源： Imaginechina Limited / Alamy

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現實景點:

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如欲親身感受布拉吉利筆下那種遼闊而流動的天地氣息，不妨將目光投向蒙古廣袤無垠的大草原。當地日出時分，天空染上異常鮮明的粉紅、赤紅與橙色光暈，然後凝望那片開闊地景，細細體會色彩如何徹底改變周遭萬物的存在狀態。觀察草原上的動物緩緩移動，牠們修長的影子如何與大地彼此交融。閣下將可真切感受到大自然從不存在靜止不變的景象，而我們感知的一切皆誕生於持續流動的變化之中。

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黛西·多德-諾布爾

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黛西·多德-諾布爾《無題》，2023年作。現代及當代藝術精選拍賣，香港。

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關於作品:

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黛西·多德-諾布爾的《無題》描繪出一片介乎想像與現實之間的理想化風景。畫中藝術家逐漸脫離早期偏向高度超現實的創作語言，轉而展現出更為成熟而內斂的藝術表達。她不再單純以擬人化方式詮釋自然，而是透過對原生與外來植物物種更具研究性的分類與觀察，微妙地映照出氣候變遷時代下潛藏的不安與脆弱性。藝術家以柔化而細膩的筆觸，營造出一種既親密、陌異，同時又極具吸引力的氛圍。

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夏威夷的晚上景色。圖片來源：B. David Cathell / Alamy

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現實景點:

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藝術家駐留夏威夷期間前後受藏家委託創作這件作品，夏威夷正是以繁盛原生植物的群島風景聞名。若欲循著藝術家的視角感受這片土地，建議閣下在夜色完全降臨後步入島上的植物園林，靜靜觀察月光如何重新塑造周遭景致。留意月色所營造出的氛圍，如何與街燈或夕陽截然不同；再度凝望水岸邊緣，觀察陰影是否如液體般緩緩聚集與流動。而最重要的是，不妨試著反思藝術家在這片風景中的所思所想，而這又是否正是我們平日有所忽略的存在。

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拍賣詳情 > 現代及當代藝術精選拍賣，香港。

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\n","2026-05-20T09:03:56.000000Z","https://www.phillips.com/article/168604964/landscape-in-art-as-in-life-hong-kong-auction-june-2026-cn",9555,5300,168604964,"https://flockler.com/thumbs/sites/889/chen-yifei-e5693534-aa29-43f0-a335-c1943964a0a1_s600x0.jpg","Remarkable landscape paintings in our upcoming Hong Kong auction and the real-life locations that mirror them.","Landscape: In Art as in Life","

Chen Yifei, Bridge Reflection (Suzhou), 1987. Modern & Contemporary Art Hong Kong.

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One of the great joys of engaging with landscape paintings is how they change the way we see the world around us. Emerging from introspective gallery visits, we see places in a new light, whether they’re scenes we know well or locations we’re visiting for the first time. It’s one of the great transcendent experiences one can have with art — we realize our sense of appreciation isn’t just about the time we spend before a work, but about how artists' different ways of seeing change how we perceive everything.

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But before going too far globe-trotting to discover new vantage points revealed by these standout works, be sure to stop by our gallery to experience them face-to-face ahead of the Hong Kong Modern & Contemporary Art auction on 2 June.

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Matthew Wong

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Matthew Wong, The Recluse, 2017. Modern & Contemporary Art Hong Kong.

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What to know:

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Painted in 2017 at the midpoint of Matthew Wong’s brief but resonant career, The Recluse activates a deeply introspective, otherworldly landscape. The composition features a lone figure, miniaturized beneath an emerald canopy, amid looming, sublime mountains composed of dense, obsessive pointillist marks. Perhaps serving as a surrogate for the artist himself, this solitary figure charts a quiet course through a vivid terrain that feels both tranquil and immersive. The painting’s remarkable interplay of color and expressive brushwork recalls the masterpieces of Post-Impressionist giants like Paul Gauguin and Vincent van Gogh.

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Sunset Peak in Hong Kong. Credit: Lyndon Giffard Images / Alamy

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Where to go:

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Take a cue from the artist — who spent hours each day on long walks, daydreaming and photographing for inspiration— to get away from your screen and step outside. Climb the dramatic trails of Sunset Peak in Hong Kong to take in the sweeping ridges and bask in an orange glow. When you return from the mountains to the gallery, you will discover that your perception of Wong's work has shifted, revealing hidden depths you didn't notice before.

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Chen Yifei

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Chen Yifei, Bridge Reflection (Suzhou), 1987. Modern & Contemporary Art Hong Kong.

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What to know:

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This piece belongs to Chen Yifei’s celebrated Water Town series, which captures a nostalgic, peaceful vision of traditional China through the ancient canal towns of Jiangnan. He masterfully applies Western oil painting techniques and dramatic chiaroscuro to create a luminous, poetic texture on the historic brick and reflecting water. As a result of this unique blend of European realism and deeply traditional Chinese themes, Yifei’s works have become highly sought after by collectors worldwide for their balance of cultural roots, national pride, and global appeal.

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Illuminated Zhouzhuang Water Town at night, Jiangsu, China. Credit: Panther Media Global / Alamy

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Where to go:

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To step directly into Yifei’s vision, visit the historic water canals of Zhouzhuang Water Town in Suzhou. While there, treat your surroundings as a study in contrast — choose a stone bridge or a brick wall and notice how the light and shadows dramatically shift between morning and evening. By observing how the midday sun gives way to twilight chiaroscuro over the water, you will begin to see everyday architecture exactly how Yifei captured it.

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Stephen Wong

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Stephen Wong, The Star Ferry In The Wave, 2021. Modern & Contemporary Art Hong Kong.

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What to know:

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Conceived during the travel restrictions of 2021, Stephen Wong’s The Star Ferry in the Wave offers a sophisticated exercise in mapping his imagination. The canvas captures a moment of grand scale-shifting — the artist’s own miniature model of Hong Kong’s iconic Star Ferry navigates the churning, Hokusai-inspired swells that surge directly from the pages of an open book. Rather than mere escapism, the work stages a tension between stationary confinement and imaginary mobility. This conceptual loop came full circle in 2022 when the image was enlarged and wrapped around a public Hong Kong tram — translating the artwork from a private, domestic fantasy into a literal, moving vessel of urban transit.

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Victoria Harbour in Hong Kong. Credit: robertharing / Alamy

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Where to go:

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Head down to the bustling waterfront of Victoria Harbour in Hong Kong to watch the iconic Star Ferry cross the water. As you stand by the harbour, focus closely on how the light flickers off the shifting currents. Notice how the power of the water, no matter how gentle, constantly moves the vessels in its wake. As your mind wanders, ask what kind of grand scenes you can visualize taking place in these waters, and how you can project your own inner world onto the urban landscape around you.

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Shara Hughes

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Shara Hughes, Many Layers, 2020. Modern & Contemporary Art Hong Kong.

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What to know:

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Also executed during the global isolation of 2020, Shara Hughes’s Many Layers exemplifies the artist’s celebrated transition from her early, domestic interiors toward liberating, invented psychological landscapes. Despite its intimate scale, this vibrant canvas radiates an explosive energy that collapses the boundary between representation and pure abstraction. The work’s inventive palette and urgent gestural markings at once call to mind Fauvist colour and Abstract Expressionist spontaneity. Created during a highly coveted, mature period of the artist’s career, following her breakout in the 2017 Whitney Biennial, this piece underscores why Hughes’ work is now securely anchored in permanent institutional collections from The Metropolitan Museum of Art in New York to the M Woods Museum in Beijing.

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Giant Sequoia Trees, Sequoia National Park, California. Credit: Hemis / Alamy

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Where to go:

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Travel to the towering, surreal forests of Sequoia National Park, where nature feels larger than life. Once surrounded by the massive trees, look at the landscape with your eyes half-opened. Do new textures and raw shapes emerge that you hadn’t seen when looking at them fully? Try drawing the forest from memory later with your eyes closed, letting your sensibilities dictate the lines rather than strict reality — a practice that mirrors how Hughes constructs her vibrant, psychological worlds.

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André Brasilier

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André Brasilier, Le Grand Ciel Rose, 1988. Modern & Contemporary Art Hong Kong.

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What to know:

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Painted during a watershed year of institutional retrospectives for the artist — including his seminal 1988 exhibition at the Musée Picasso in Antibes — André Brasilier’s Le Grand Ciel Rose exemplifies his celebrated status as a painter. In this work, his signature equestrian subjects are stripped of realist detail, serving instead as lyrical surrogates for vitality and an intimate communion with the atmosphere. By bathing the landscape in a wash of vibrant pinks, Brasilier translates the terrain into a deeply rhythmic, dreamlike space. This serene composition beautifully underscores why Brasilier’s poeticism continues to command a deeply dedicated following among major collectors worldwide.

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Sunrise in Mongolia. Credit: Imaginechina Limited / Alamy

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Where to go:

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To experience the vast, undulating expanses that define Brasilier’s worldview, look to the sweeping steppes of Mongolia. At sunrise, when the sky turns an unusually vibrant shade of pink, red, or orange, look across the open landscape to notice how the color completely alters everything around it. Watch the local wildlife moving across the plain, observing how the animals and their elongated shadows fuse into the terrain. You will see firsthand that nothing in nature has a static appearance — what we perceive is born of constantly shifting light.

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Daisy Dodd-Noble

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Daisy Dodd-Noble, Untitled, 2023. Modern & Contemporary Art Hong Kong.

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What to know:

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Daisy Dodd-Noble’s Untitled depicts an idyllic landscape where the imaginary co-mingles with reality. Marking a departure from the artist’s earlier, hyper-surrealistic approach, this work represents a mature refinement of her practice. Rather than anthropomorphizing nature, she engages in a more informed taxonomy of native and non-native botanical species — a shift that subtly interrogates the anxieties of a changing climate. Through softened brushwork, she evokes a scene that feels intimate, alien, and deeply inviting all at once.

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Hawaii at night. Credit: B. David Cathell / Alamy

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Where to go:

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This piece was commissioned around the time of the artist’s residency in Hawaii, a landscape famous for its lush, native flora. To see this paradise through the artist’s lens, venture into the island's botanical spaces in complete darkness and observe how the moon’s glow shapes your surroundings. Notice how moonlight creates an atmosphere entirely different from that of streetlights or the setting sun. Look at the water’s edge to see if the shadows pool like liquid. And above all, ask herself what she saw or imagined here that you might have missed.

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Discover more from Modern & Contemporary Art Hong Kong >

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\n","2026-05-19T20:03:43.000000Z","https://www.phillips.com/article/168432619/landscape-in-art-as-in-life-hong-kong-auction-june-2026",9554,5299,168432619,"https://flockler.com/thumbs/sites/889/recluse-lead-image-95ee3c1f-35df-4acc-ba1e-d4635e0934ac_s600x0.jpg","《隱居者》讓我們看到藝術家如何透過繪畫在疏離世界尋找歸屬之地。","王俊傑從創作中找自我歸處","

王俊傑《隱居者》 2017年作。現代及當代藝術精選拍賣

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富藝斯將於2026年6月2日在香港舉行「現代及當代藝術精選拍賣」，王俊傑的2017年作品《隱居者》成為本次拍賣亮點之一。此作尺寸為61 x 50.8公分，雖然尺幅不大，卻具含蓄張力，氣度非凡，構圖與控制力之精準，展現出王俊傑雖然短暫但卓越的創作生涯的核心特色。

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「我認為我的創作是一種與自我的對話……也是在一個我常感到格格不入的世界中，尋找自身位置的方式。」
\n——王俊傑
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一名孤獨的人物靜臥於蒼翠欲滴的翠綠樹下，在以密集點彩筆觸層層疊染而成的巍峨山嶽面前顯得渺小。左側山峰上，白色與粉紅色高光以有力的筆致施於其上，以捕捉陽光穿越山口時的光影效果。畫布被密集地反覆施色，色彩層層疊加以製造深度與光澤。王俊傑將意想不到的色調並置，從而產生平塗混色所無法達到的視覺振盪。至於前景的樹木，生動的綠色冷卻了橙色天空的熱度，枝葉感覺鮮活，色彩相互滲透，喚起濕潤、生長與呼吸的感官印象。這幅畫與其說是一片風景，不如說是顏料鮮活跳動的脈搏。

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這位孤獨人物是馬修．黃作品中反覆出現的主題，彷彿藝術家自身的投射，一個在寧靜與壓倒性自然之間前行的身影。渺小的人與壯闊山景之間的對比，使人聯想到宋代山水畫與道家思想，人在宇宙之中僅為微小一部分。然而黃並未止步於傳統，他以濃烈色彩與豐富肌理將景象推近觀者，使遠方壓縮成近距離的存在，幾乎將觀看者吞沒其中。

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這一孤獨的身影是王氏作品中反覆出現的母題，宛如藝術家本人的化身，一個在既安靜又令人窒息的山水之間默默前行的人。人物與巨山之間的對比亦令人聯想起宋代山水畫與道家思想，其中人的存在不過是廣袤宇宙中的渺渺一粟。然而王俊傑並不因循這一傳統，而是以濃烈的色彩與豐富的肌理灌注畫面，將遠景拉近至幾乎將觀者吞沒的距離。

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王俊傑《隱居者》 2017年作。現代及當代藝術精選拍賣

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在中國文人傳統中，「隱士」（yǐnshì）並非失敗的象徵，而是一種從容自持。人物安坐於山體的弧線之內，受樹冠的蔭庇。畫面平靜，卻並不空洞，反而充滿隱匿的生機。觀者並非僅僅在觀看一位隱者，而是受邀進入那種靜定與細膩關注的狀態。

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「我確實相信，當代生活本質上蘊含著一種孤獨或憂鬱，從更宏觀的層面而言，我認為我的作品正是與這種特質對話，同時也是我的思想、迷戀與衝動的映照。」
\n— 王俊傑
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王俊傑在1984年生於多倫多，7歲時隨家人移居香港然後15歲返回加拿大，他因此從來沒有找到自身歸屬地，令到這種游離與疏離感貫穿他的全部創作。

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王俊傑的風格常被比擬於後印象派巨匠，卻又無疑地帶有當代氣息。溫暖的橙色天空與熾烈的陽光令人聯想起保羅·高更大溪地風景的燦爛光輝，而充滿韻律感的運筆方式則呼應文森特·梵谷的表現張力。正如王俊傑曾言：「我在他身上看見自己。那種在這個世界中無所歸屬的絕望。」

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作品名稱《隱居者》喻意退隱，卻沒有孤獨的意思，反而包含了反思、庇護與內在沉潛之意。王俊傑曾公開分享他對心理健康與孤立狀態的表述，而繪畫對他而言，往往如同一種冥想實踐，這一點在作品中無數重複堆疊的點彩筆觸中可見一斑。

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王俊傑於2019年10月、35歲之年，閞始備受國際藝術圈認可之際離世。王俊傑雖然起步較晚、但崛起迅速，其經歷深深影響外界對其作品的理解與評價。王俊傑在國際當代藝術界享有廣泛讚譽，作品備受西方及亞洲市場追捧。其繪畫現藏於全球頂尖機構的永久收藏，包括紐約大都會藝術博物館、現代藝術博物館（MoMA）、所羅門·R·古根漢姆博物館，以及安大略藝術畫廊。

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拍賣詳情 > 現代及當代藝術精選拍賣，香港。

\n","2026-05-26T03:22:24.000000Z","https://www.phillips.com/article/168748357/matthew-wong-painting-the-world-he-couldnt-find-cn",9552,5305,168748357,"https://flockler.com/thumbs/sites/889/wong-lead-2-c619b8e4-274c-4178-9683-09b40f2a9193_s600x0.jpg","The recluse’s dwelling place turns out to be the painting itself. ","Matthew Wong Painted the World He Couldn't Find","

Matthew Wong, The Recluse, 2017. Modern & Contemporary Art Hong Kong.

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As Phillips presents its Modern & Contemporary Art Sale in Hong Kong on 2 June 2026, The Recluse (2017) stands as one of the most quietly arresting works in the sale. At 61 by 50.8 centimetres, it is small in scale, but immense in presence, holding its ground through precise calibration that came to define Matthew Wong’s brief but extraordinary practice.

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\n
I would say my work is a dialogue with myself... a way to find a place in a world where I often felt like an outsider.
\n—Matthew Wong
\n

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A solitary figure rests beneath a lush emerald tree, dwarfed by towering mountains rendered in dense layers of pointillist brushstrokes. On the left-hand peak, white and pink highlights are applied with vigour, catching the light in a way that suggests sunlight filtering through a mountain pass. Elsewhere, violet sits beside ochre, producing an optical vibration that flat colour mixing could never achieve. Against the warm glow of an orange sky, the foreground tree presses its vibrant greens cool and alive, its foliage bleeding into itself, evoking humidity, growth, and breath. The scene feels quiet and still. And yet the surface is entirely alive with movement and tension.

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That lone figure is a recurring motif in Wong's work, and it feels like a stand-in for the artist himself: someone quietly making his way through a landscape that is at once serene and overwhelming. The contrast between the small human presence and the vast mountains recalls Song Dynasty landscape painting and Daoist thought, where the human being is only one small part of a much larger cosmos. Yet Wong departs from those traditions by saturating the scene with vivid colours and rich textures, drawing the distance inward, bringing the landscape so close that it almost engulfs the viewer.

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Matthew Wong, The Recluse (detail), 2017. Modern & Contemporary Art Hong Kong.

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In the Chinese literati tradition, the recluse — the yǐnshì — is not a figure of failure but of deliberate inwardness: a scholar who withdraws from public life in fidelity to contemplation, to nature, to the self. The figure in this painting is not presented as defeated but as self-possessed, sitting securely within the curve of the mountain, sheltered by the tree's canopy. The scene is calm but not empty. It feels full of hidden life, and the viewer is not asked to observe it from outside but to enter it, to inhabit that state of stillness and quiet attention.

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\n
I do believe that there is an inherent loneliness or melancholy to much of contemporary life, and on a broader level I feel my work speaks to this quality in addition to being a reflection of my thoughts, fascinations and impulses.
\n— Matthew Wong
\n

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Born in Toronto in 1984, he moved with his family to Hong Kong at age seven and lived there until fifteen, when the family returned to Canada. He was never fully of one place or the other. That sense of apartness runs through everything Wong made.

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His influences were as hybrid as his upbringing: the expressive surfaces of Van Gogh, of whom Wong said, “I see myself in him — the impossibility of belonging in this world”; the radiant intensity of Gauguin’s Tahitian landscapes; and the atmospheric stillness of classical Chinese painting.

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The title The Recluse suggests retreat, but not necessarily loneliness; it also implies reflection, shelter, or inwardness. Wong spoke openly about mental health and isolation, and painting often appears to have functioned for him as a form of meditation. That quality is present in The Recluse itself, in the repetitive labour of countless pointillist brushstrokes.

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Wong died in October 2019 at thirty-five, just as critical recognition was beginning to consolidate. Late start, rapid ascent, sudden end: his arc has inevitably shaped how his work is received.

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Wong is widely acclaimed in the global contemporary art scene, with widespread influence in both Western and Asian markets. His paintings are held in the permanent collections of prestigious global institutions, including The Metropolitan Museum of Art in New York, the Museum of Modern Art (MoMA), the Solomon R. Guggenheim Museum, and the Art Gallery of Ontario.

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Discover more from Modern & Contemporary Art Hong Kong >

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\n","2026-05-21T15:10:32.000000Z","https://www.phillips.com/article/168642854/matthew-wong-painting-the-world-he-couldnt-find",9553,5302,168642854,"2026-05-23T16:00:00.000000Z","2026-06-01T16:00:00.000000Z",[965],{"_378":379,"_380":784,"_382":383,"_384":385},{"_396":985,"_50":986,"_399":400},{"_396":983,"_50":984,"_399":400},{"_396":981,"_50":982,"_399":400},{"_396":979,"_50":980,"_399":400},{"_396":977,"_50":978,"_399":400},{"_396":975,"_50":976,"_399":400},{"_396":973,"_50":974,"_399":400},"https://assets.phillips.com/auctions/HK010426/6_hi.jpg","

SHARA HUGHES Many Layers, HKD 100,000–200,000

\n","https://assets.phillips.com/auctions/HK010426/5_hi.jpg","

CLAIRE TABOURET Self-Portrait with George, HKD 240,000–350,000

\n","https://assets.phillips.com/auctions/HK010426/4_hi.jpg","

MEHDI GHADYANLOO The Dance Floor, HKD 200,000–400,000

\n","https://assets.phillips.com/auctions/HK010426/3a_hi.jpg","

CHEN YIFEI Bridge Reflection (Suzhou), HKD 800,000–1,200,000

\n","https://assets.phillips.com/auctions/HK010426/2_hi.jpg","

ATSUKO TANAKA Untitled, HKD 260,000–350,000

\n","https://assets.phillips.com/auctions/HK010426/1_hi.jpg","

LEE UFAN With Winds, HKD 800,000–1,200,000

\n","https://assets.phillips.com/auctions/HK010426/21_hi.jpg","

MATTHEW WONG The Recluse, HKD 5,500,000–8,500,000

\n",{"_811":93,"_812":813,"_814":988,"_50":989,"_817":990},24133,"DETAIL-HEADER-DISABLED 17963",[991],{"_811":93,"_820":992,"_822":993},27917,"

“I would say my work is a dialogue with myself... a way to find a place in a world where I often felt like an outsider.” — Matthew Wong

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\nPainted in 2017, The Recluse was created during Matthew Wong’s short but impactful seven-year career. The present lot serves as a quintessential example of the artist’s ability to ‘activate nostalgia, both personal and collective’. ⁱ His work, characterised by its vibrant palettes and introspective themes, often exists in the delicate space between reality and the ethereal.
\n

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A Self-Taught Vision

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Wong was a self-taught painter who approached the canvas instinctively, building up his compositions stroke by stroke. Without the structure of a formal academic training, his marks feel direct, urgent, and deeply personal. In The Recluse, a solitary figure rests beneath a lush emerald tree, dwarfed by towering mountains rendered in dense layers of pointillist brushstrokes. This lone presence, a recurring motif in Wong’s work, feels like a stand-in for the artist himself — someone quietly making his way through a landscape that is at once serene and overwhelming. The contrast between the figure and the vast mountains also recall Song Dynasty landscape painting and Daoist thought, where the human being is only one small part of a much larger cosmos. Yet Wong departs from those traditions by saturating the scene with vivid colours and rich textures, drawing the distance inward, bringing the landscape so close that it almost engulfs the viewer.
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Technique and Materiality

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Wong’s technical approach reflects intense physical labour and sensory engagement. In The Recluse, brushwork serves not only as descriptive purpose but also establishes rhythm, as the artist moves between thick, impasto-like strokes and finer pointillist marks. The mountains are gradually constructed through thousands of dashes and dabs, creating a surface of remarkable tactility. On the left-hand peak, white and pink highlights are applied with vigour, catching the light in a way that suggests sunlight filtering through a mountain pass. The repetitive nature of this process also gives the work a meditative quality, turning painting into an act of focus and presence.
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Artistic Lineage of Van Gogh

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\"\" — Paul Gauguin, *Tahitian Landscape*,1891
\nMinnaepolis Institute of Arts
\nImage: Minneapolis Institute of Arts, The Julius C. Eliel Memorial Fund, 49.10

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\"\" — Vincent van Gogh, *Olive Trees with Yellow Sky and Sun*, 1889
\nMinneapolis Institute of Art
\nhttps://collections.artsmia.org/art/1218/olive-trees-vincent-van-gogh

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\nMatthew Wong’s style is often compared to Post-Impressionist masters, yet it feels unmistakably contemporary. The warm orange sky and glowing sun recall the radiant intensity of Paul Gauguin’s Tahitian landscapes, while the rhythmic application of paint recalls the expressive force of Vincent van Gogh. As Wong once said, “I see myself in him. The impossibility of belonging in this world.” ⁱⁱ
\n
\nLike Van Gogh, Wong used landscape as a vessel for feeling, turning hills and trees into shifting patterns of emotional energy. In The Recluse, the mountains do not sit still; they seem to vibrate. White, pink, and ochre dots create a visual hum, as if the painting were made not of solid forms but of light and energy. The result is a striking paradox: the scene feels quiet and still, yet the surface is alive with movement and tension.
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The Technical Brilliance of 2017

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2017 marked a watershed year for Wong’s practice. During this period, he began moving away from the looser, more chaotic brushstrokes of his earlier work toward a language that was still intuitive but more controlled. In The Recluse, the canvas is densely worked, with colour layered carefully to create depth and shimmer. He often placed unexpected tones beside one another — for example, violet next to ochre — to produce an optical vibration that flat colour mixing could never achieve.
\n
\nWong’s process was highly spontaneous. He avoided preliminary sketches and preferred to trust the flow of his hand on the surface. That energy is visible in the foreground tree, where vibrant greens cool the heat of the orange sky. The foliage feels alive as the colours bleed into one another, evoking humidity, growth, and breath. The painting feels less like a landscape than a living pulse of pigment.
\n

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The Emotional Paradox of Solitude

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Despite its brilliance, The Recluse carries the quiet melancholy that often defines Wong’s work. The title suggests retreat, but not necessarily loneliness; it also implies reflection, shelter, or inwardness. Wong spoke openly about mental health and isolation, and painting often appears to have functioned for him as a form of meditation.
\n
\nThe ‘recluse’ in this painting is not presented as defeated, but as self-possessed. The figure sits securely within the curve of the mountain, protected by the tree’s canopy. The scene is calm, but it is not empty — it feels full of hidden life. Rather than simply observing a recluse, the viewer is invited to enter that state of stillness and quiet attention:
\n

\n\n

“I do believe that there is an inherent loneliness or melancholy to much of contemporary life, and on a broader level I feel my work speaks to this quality in addition to being a reflection of my thoughts, fascinations and impulses.” — Matthew Wong

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A Dialogue with the Infinite

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The painting ultimately becomes a bridge between inner feeling and outer landscape. Through repeated dots and marks, Wong builds a world that feels inhabitable, intimate, and suspended in time. There is something deeply vulnerable in the way the figure faces the orange expanse of the valley with their back turned. It captures a familiar human experience: standing before something vast and feeling at once small, alone, and connected.
\n

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\"\" — *“Matthew Wong: Interiors,”* Palazzo Tiepolo Passi, Venice, May 6—November 1, 2026, © 2025
\nMatthew Wong Foundation / Artists Rights Society (ARS), New York. Photo by Alex Yudzon. Courtesy Matthew Wong Foundation

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\nThis enduring dialogue with the self is the focus of the significant 2026 exhibition, Matthew Wong: Interiors, held at the Palazzo Tiepolo Passi in Venice. Running from May to November, the exhibition highlights the artist’s mastery of internalised spaces—both literal and metaphorical. By placing Wong’s work within the historic, shadowed halls of Venice, the exhibition mirrors the atmospheric depth found in The Recluse, illustrating how his private meditations have transformed into a global, public sanctuary.
\n
\nUltimately, The Recluse offers a glimpse into Wong’s private world. It rewards sustained viewing, disclosing rich textural and chromatic detail that echoes the artist’s slow, deliberate process.
\n

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Collector’s Digest:

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Matthew Wong (1984–2019) was a self-taught Canadian-born Chinese painter who is widely acclaimed in the global contemporary art scene. His works are celebrated for their visionary synthesis of Western Post-Impressionism and traditional Chinese landscape painting. Often described as a ‘painterly cartographer’, Wong used vibrant palettes and dense, rhythmic brushwork to explore themes of solitude, mental interiority, and the ‘mystical melancholy’ of modern life. His ability to evoke profound emotional resonance through landscape has made his oeuvre a cornerstone for major international collections.
Wong’s works have been the subject of significant posthumous institutional focus. In 2024, the Van Gogh Museum in Amsterdam presented the landmark exhibition ‘Matthew Wong | Vincent van Gogh: Painting as a Last Resort’, the first retrospective to formally pair his work with his primary historical influence. His paintings are held in the permanent collections of prestigious global institutions, including The Metropolitan Museum of Art in New York, the Museum of Modern Art (MoMA), the Solomon R. Guggenheim Museum, and the Art Gallery of Ontario.
Represented by Karma in New York, Wong’s influence has expanded rapidly across both Western and Asian markets. His deep personal and professional ties to Hong Kong—where he earned his Master of Fine Arts and held his first solo exhibitions—have fostered a particularly strong affinity among Asian collectors.

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ⁱ Matthew Wong, quoted in Matthew Wong, Biography, Matthew Wong Foundation, online
\nⁱⁱMatthew Wong, quoted in Matthew Wong, Vincent van Gogh: Painting as a Last Resort, Van Gogh Museum, online

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\n \n

","275c042f422d",[1245],"level","listItem","bullet",[],{"_1096":1246,"_1024":1128,"_1129":1247,"_1131":1248},"0cf94d180410",[],"Dropshop buyers spanned 22 countries across 5 continents.","4e5e302f1e85",[1252],[],{"_1096":1246,"_1024":1128,"_1129":1253,"_1131":1254},[],"Nearly 60% of Dropshop buyers were Millennials or Gen Z.","b09fafcbe2e3",[1258],[],{"_1096":1246,"_1024":1128,"_1129":1259,"_1131":1260},[],"70% of Dropshop buyers were new to Phillips in spring 2026.","63d516389e69",[1264],[],{"_1096":1246,"_1024":1128,"_1129":1265,"_1131":1266},[],"Phillips’ Dropshop platform hosted successful releases this spring from Kelly Reemtsen, Hiroshi Nagai, and Cahiers d'Art in collaboration with the Calder Foundation.","9b69916d0b51",[1271],[],"h2",{"_1096":1272,"_1024":1128,"_1129":1273,"_1131":1274},"28a0475df879",[],"DROPSHOP — Digital-First Collecting, Global Audience","12122ff0c62c",{"_1024":1057,"_1058":1287},{"_1024":1111,"_1058":1279},"https://dist.phillips.com/website/uploads/articles/Optional-Shop-Image-Large-22180700-62b3-4503-bb10-ee9939379ee5.jpg",[1280],{"_1096":1281,"_1024":1115,"_1116":1282,"_1118":1283,"_1120":1121},"ed37be6f23a5",[1284],[],{"_1096":1285,"_1024":1128,"_1129":1286,"_1131":1287},"cf42d1c2b494",[],"Phillips Perpetual Boutique in London.","ff84fffb72c5",[1291],[],{"_1096":1292,"_1024":1128,"_1129":1293,"_1131":1294},"7c21f93c993e",[],"So far in 2026, 30% of Perpetual buyers were new to Phillips. ","68f923bfde0b",[1298],[],{"_1096":1299,"_1024":1128,"_1129":1300,"_1131":1301},"8a71abcd66e8",[],"This spring, the average watch value on Perpetual increased by 20%.","42ea3ddc1f02",[1305],[],{"_1096":1306,"_1024":1128,"_1129":1307,"_1131":1308},"8307afaeae47",[],"Perpetual saw a 60% increase in gross sales this spring, with a 34% increase in the number of watches sold.","07f5e470f5cd",[1312],[],{"_1096":1313,"_1024":1128,"_1129":1314,"_1131":1315},"0747758b070e",[],"PERPETUAL — Watch Collecting Year-Round, Exceptional at Every Beat","de4604f5f459","

\n \n

","2886a22b06eb",[1321],[],{"_1096":1322,"_1024":1128,"_1129":1323,"_1131":1324},"51ef4f233bb0",[],"Private Sales buyers hailed from 30 countries, underscoring the global reach of the channel.","740f810f1668",[1328],[],{"_1096":1322,"_1024":1128,"_1129":1329,"_1131":1330},[],"One third of private sales buyers this season were entirely new to Phillips.","bdd64269ebac",[1334],[],{"_1096":1322,"_1024":1128,"_1129":1335,"_1131":1336},[],"Phillips hosted 6 selling exhibitions across 3 countries this spring, including Alice Baber: Sacred Spaces in New York, Phillips + Dimoregallery: Syntax of Space in Milan, Zao Wou-Ki: Infinite Dialogues, and Dissecting the Square: Colours and Black by Alexander James, both in Hong Kong.","e8ca7c8526f9",[1340],[],{"_1096":1341,"_1024":1128,"_1129":1342,"_1131":1343},"5a2ed1f5079a",[],"PRIVATE SALES — Global Reach, One Third New Clients","6f69b03bbb32",[1347],[],{"_1096":1348,"_1024":1128,"_1129":1349,"_1131":1350},"27641a4f7a80",[],"SIGNATURE SERVICES","abf4962cf176","

\n \n

","e4d804b7ccf5",[1356],[],{"_1096":1357,"_1024":1128,"_1129":1358,"_1131":1359},"aa358802dc74",[],"Buying activity increased across Hong Kong, Mainland China, Taiwan, Japan, Singapore, Vietnam, and the Philippines.","beea7a784f2f",[1363],[],{"_1096":1364,"_1024":1128,"_1129":1365,"_1131":1366},"6538f856f969",[],"The Hong Kong spring auctions achieved a 50% year-on-year increase, with 83% of lots selling above pre-sale estimates. Asia continues to attract new collectors: 34% of buyers in the Hong Kong spring sales were new to Phillips, and the average number of bidders per lot rose 23% year on year.","625b2e6b2f90",[1370],[],{"_1096":1371,"_1024":1128,"_1129":1372,"_1131":1373},"f77d23a58329",[],"Hong Kong Spring Sales Deliver Strong Growth Amid Growing Demand","426c6e35fa96",[1377],[],{"_1096":1378,"_1024":1128,"_1129":1379,"_1131":1380},"223671b7ad4a",[],"STRENGTH ACROSS ASIA","33d6d983dbc0","

\n \n

","343a1768247e",[1386],[],{"_1096":1387,"_1024":1128,"_1129":1388,"_1131":1389},"b1c62c7c0e6e",[],"A 24% year-over-year increase in Gen-Z and Millennial bidders underscores the growing demand for the category and 50% of lots across the season sold above their high estimates.","05920a2155db",[1393],[],{"_1096":1387,"_1024":1128,"_1129":1394,"_1131":1395},[],"This spring, Phillips led the market in various-owner Design sales, achieving 90% sell-through rate by lot and 93% by value.","d009c5129cf6",[1399],[],{"_1096":1400,"_1024":1128,"_1129":1401,"_1131":1402},"e2fdfa74f324",[],"Phillips Delivers the Strongest Sell-Through Rates for Seasonal Sales","541ee6b1c167",[1406],[],{"_1096":1407,"_1024":1128,"_1129":1408,"_1131":1409},"0cb4fae435ec",[],"DESIGN","99c1e9fab197","

\n \n

","244f55bbb4c5",[1415],[],{"_1096":1416,"_1024":1128,"_1129":1417,"_1131":1418},"2f27e95f8480",[],"Phillips remained the global leader in live Editions sales this season. The department also hosted two white-glove auctions this season: the January Evening & Day Sale in London, which nearly doubled its estimate and achieved the highest total for a various-owner Editions sale globally, and a dedicated sale of works by Zao Wou-Ki in Hong Kong in June. Reflecting growing demand for the category, Phillips’ dedicated Modernism sale in New York achieved its strongest result to date in April.","8a4d35ae4165",[1422],[],{"_1096":1423,"_1024":1128,"_1129":1424,"_1131":1425},"cf9d39183a92",[],"White-Glove Sales and Global Leadership","cd48db531538",[1429],[],{"_1096":1430,"_1024":1128,"_1129":1431,"_1131":1432},"e857177a5ede",[],"EDITIONS","7686f6e3e4ce","

\n \n

","4edca3683cc4",[1438,1439,1440],[],{"_1096":1447,"_1024":1128,"_1129":1448,"_1131":1449},{"_1096":1444,"_1024":1128,"_1129":1445,"_1131":1446},{"_1096":1441,"_1024":1128,"_1129":1442,"_1131":1443},"ccbcb946dcbf",[]," (1927), which realized $645,000 — more than six times its low estimate.","692787bbc8a8",[1136],"Bandolier, Corn, Sickle","9127102a05c2",[],"As the global market leader in Photographs sales, Phillips offered the top lot across all dedicated photographs auctions this season: Tina Modotti's iconic ","904479cc7bb4",[1453],[],{"_1096":1454,"_1024":1128,"_1129":1455,"_1131":1456},"28ad243bdcf6",[],"Market Leadership and Season-Topping Result","fe9dd9aae934",[1460],[],{"_1096":1461,"_1024":1128,"_1129":1462,"_1131":1463},"542118b1a83e",[],"PHOTOGRAPHS","ceccc7a33cb5","

\n \n

","d2cba4b561b8",[1469],[],{"_1096":1470,"_1024":1128,"_1129":1471,"_1131":1472},"8e648af26405",[],"In Hong Kong and New York, signed pieces achieved a 100% sell-through rate, with 74% of the lots selling above the high estimate.","cd7d159b55d3",[1476],[],{"_1096":1470,"_1024":1128,"_1129":1477,"_1131":1478},[],"Marking Phillips' 230th anniversary, the Geneva Jewels sale introduced Collections & Provenance — a dedicated chapter placing special emphasis on period jewels and signed pieces with distinguished provenance. The section, including jewels and objects from the Vanderbilt family and European noble families, tripled its low estimate.","4c9a6686149d",[1482],[],{"_1096":1483,"_1024":1128,"_1129":1484,"_1131":1485},"d890cb0889f3",[],"Record Demand for Signed Pieces and Jewels with Important Provenance","311cea564063",[1489],[],{"_1096":1490,"_1024":1128,"_1129":1491,"_1131":1492},"a5d7867c28fb",[],"JEWELS","a5455ac77375","

\n \n

","40c1921aac93",[1498],[],{"_1096":1499,"_1024":1128,"_1129":1500,"_1131":1501},"b4b3f24fa0e9",[],"For Jewels, private single-owner collections achieved a 98% sell-through rate, with 81% of lots surpassing their high estimates. Coloured stones and signed jewels continue to dominate the market.","b8ceaa652a5c",[1505],[],{"_1096":1499,"_1024":1128,"_1129":1506,"_1131":1507},[],"A Life in Colour: Property from the Estate of Tina Hills — the collection of the visionary collector and patron — achieved an impressive 99% sell-through rate and was featured across Editions, Jewels, Design, and Modern & Contemporary Art sales. The collection was led by Joan Mitchell's Plain, which ranked among the top ten lots sold at Phillips this season, while Helen Frankenthaler’s Paloverde soared to nearly four times its estimate.","dfe90949e38b",[1511],[],{"_1096":1499,"_1024":1128,"_1129":1512,"_1131":1513},[],"The Collection of Ambassador John L. Loeb Jr. — widely regarded as the most important Danish art collection in private hands — realized $18 million across five auctions in New York and London, surpassing its aggregate pre-sale estimate. The series delivered a 100%-sold white-glove auction in New York and concluded with a 90%-sold online sale, achieving an overall 90% sell-through rate, with 43% of lots exceeding their high estimates, significant participation from international buyers, and 16 works from the Collection acquired by leading public institutions.","40cc311edb54",[1517],[],{"_1096":1518,"_1024":1128,"_1129":1519,"_1131":1520},"0a1b1396d9d1",[],"Institutional Demand and Record Sell-Through Rates","b09a2b31f72c",[1524],[],{"_1096":1525,"_1024":1128,"_1129":1526,"_1131":1527},"7df31bf640ce",[],"EXCEPTIONAL COLLECTIONS","55de0b70b0e3","

\n \n

","6ceba1576e08",[1533],[],{"_1096":1534,"_1024":1128,"_1129":1535,"_1131":1536},"ad4971432f94",[],"Hong Kong — the highest-value timepiece ever sold at auction in Asia.","c7efd6f83356",[1540],[],{"_1096":1534,"_1024":1128,"_1129":1541,"_1131":1542},[],"New York — the highest-ever watch auction total in the Americas.","962df54b6c19",[1546],[],{"_1096":1534,"_1024":1128,"_1129":1547,"_1131":1548},[],"Geneva — the most successful watch auction ever held, anywhere in the world.","5b6728e7f361",[1552],[],{"_1096":1534,"_1024":1128,"_1129":1553,"_1131":1554},[],"Phillips in Association with Bacs & Russo concluded the most successful watch auction season in the firm’s history, with all three live sales setting new global benchmarks:","eed94c5cd1f1",[1558],[],{"_1096":1559,"_1024":1128,"_1129":1560,"_1131":1561},"de9c697769dc",[],"Three All-Time Records Across Three Continents","7cbbd6c0bb33",[1565],[],{"_1096":1566,"_1024":1128,"_1129":1567,"_1131":1568},"45e7b598caff",[],"WATCHES","dd9b4326e11a","

\n \n

","ce8a8c8f663c",[1574],[],{"_1096":1575,"_1024":1128,"_1129":1576,"_1131":1577},"36e411144b5b",[],"Underscoring the expansion of taste in the market, there was tremendous enthusiasm for works spanning centuries and genres. In the May sales in New York, Modern works were 93% sold by lot, while Impressionist and American works both achieved a 100% sell-through rate.","eefc20855595",[1581],[],{"_1096":1575,"_1024":1128,"_1129":1582,"_1131":1583},[],"Throughout the spring, the overall Evening Sale sell-through rate was 94% by lot and 99% by value.","c520d7811ecf",[1587],[],{"_1096":1575,"_1024":1128,"_1129":1588,"_1131":1589},[],"The May Evening Sale of Modern & Contemporary Art in New York was a white-glove auction, more than doubling the prior year's total. The sale was led by Andy Warhol's Sixteen Jackies.","ab9c4dfc6003",[1593,1594],[],{"_1096":1597,"_1024":1128,"_1129":1598,"_1131":1599},{"_1096":1595,"_1024":1128,"_1129":1596,"_1131":1135},"2dfeac0ce790",[1136],"07caffe332e1",[],"Led By Andy Warhol’s ","a203b06f5edf",[1603],[],{"_1096":1604,"_1024":1128,"_1129":1605,"_1131":1606},"20fd757c5abe",[],"MODERN & CONTEMPORARY ART","e96ee09cbb46",[1610],[],{"_1096":1611,"_1024":1128,"_1129":1612,"_1131":1613},"218bdd8b53c5",[],"Nearly 70% of works were sold online.","e2900fac5e6e",[1617],[],{"_1096":1611,"_1024":1128,"_1129":1618,"_1131":1619},[],"40% of buyers were new to Phillips; nearly one third were Millennial and Gen Z collectors.","16471e8712f5",[1623],[],{"_1096":1611,"_1024":1128,"_1129":1624,"_1131":1625},[],"The season’s hammer price to low estimate index reached 1.46 (146%).","2214ac5e69bf",[1629],[],{"_1096":1611,"_1024":1128,"_1129":1630,"_1131":1631},[],"Phillips maintained its record of selling 100% of works estimated above $15 million since 2019.","f67804cc8392",[1635],[],{"_1096":1611,"_1024":1128,"_1129":1636,"_1131":1637},[],"The overall Evening Sale sell-through rate was 94% by lot and 99% by value across the spring.","d08743e477d2",[1641],[],{"_1096":1611,"_1024":1128,"_1129":1642,"_1131":1643},[],"Phillips’ spring 2026 auction sales totaled $507 million, up 60%, on spring 2025, with a global sell-through rate of 90% by lot.","f4735c111b8e",[1647],[],{"_1096":1648,"_1024":1128,"_1129":1649,"_1131":1650},"b81251e57651",[],"SEASON HIGHLIGHTS","b091a77c9118","

\n \n

","6f7459f852d3",[1656],[],{"_1096":1657,"_1024":1128,"_1129":1658,"_1131":1659},"f326256afa29",[],"From extraordinary collections to record-breaking moments, have a look below at 2026’s highlights so far. ","92fe560ed38a",[1663],[],{"_1096":1657,"_1024":1128,"_1129":1664,"_1131":1665},[],"As Phillips CEO Martin Wilson put it, “The art market is changing fast, and collectors’ tastes and expectations are changing with it. Our aim is to build on the success and keep adapting — to keep finding better ways to bring exceptional works to market and to make Phillips the most responsive and forward-looking auction house in the business.\"","907238d48d1f",[1669],[],{"_1096":1657,"_1024":1128,"_1129":1670,"_1131":1671},[],"Midway through our 230th year, Phillips’ auction results show strength and innovation in every measurable category — and we’re only just getting started. 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With 1 in 3 buyers new to Phillips, now is the time to sell with Phillips.",{"_1024":1057,"_1058":1695,"_1059":1698},"https://dist.phillips.com/website/uploads/video/KEN00575_16x9_CMS-328513de-c6db-4e3c-ade1-3244add4b85b.jpg","富藝斯香港春季拍賣總成交額逾6.01億港元 / 7,600萬美元，按年增長50%。每三位買家中便有一位首次於富藝斯購藏，不容錯過委託我們拍賣的最佳時機。","hong-kong-soars-a-record-spring-for-phillips-asia",{"_1024":1061,"_1058":1695,"_1059":1698},{"_1024":1057,"_1058":1689,"_1059":1693},"localeSimplePortableText",[1712],[1705],{"_1096":1706,"_1024":1115,"_1116":1707,"_1118":1708,"_1120":1121},"f3cfb0f7f9e5",[1709],[],{"_1096":1710,"_1024":1128,"_1129":1711,"_1131":1698},"e3b0e87b5eb6",[],{"_1096":1713,"_1024":1115,"_1116":1714,"_1118":1715,"_1120":1121},"61adb31f5cd5",[1716],[],{"_1096":1717,"_1024":1128,"_1129":1718,"_1131":1695},"af7db1d95ae0",[],{"_1096":1713,"_1024":1115,"_1116":1720,"_1118":1721,"_1120":1121,"_1150":1722},[1723],[],"left",{"_1096":1717,"_1024":1128,"_1129":1724,"_1131":1695},[],"2026-07-23T20:23:05Z","8818835a-1e5a-408c-8171-f337c8682c11","KKcvU66zXy02imQ9hADRqI",{"_1672":2344},"2026-07-31T09:39:30Z","authorName",{"_1024":1163,"_1058":1756,"_1059":1757},{"_1050":1755,"_50":239},"watches","Following a historic first half of the year, discover the record-breaking results, standout watches, market statistics, and how Phillips makes the difference.",{"_1024":1061,"_1058":1734,"_1059":1744},[1750],"2026-07-24T08:00:00.000Z",{"_1024":1065,"_1066":1746,"_1068":1747},{"_1024":1050,"_1063":1745},{"_1024":1061,"_1058":1734,"_1059":1744},"Inside the Phillips Asia Spring 2026 Watch Auctions Market Report",{"_1024":1057,"_1058":1741,"_1059":1743},"富藝斯亞洲2026年鐘錶春季拍賣市場報告","回顧2026年上半年富藝斯鐘錶拍賣的輝煌成就：歷史性成交、矚目時計、市場數據，以及「富藝斯優勢」。","inside-the-phillips-asia-spring-2026-watch-auctions-market-report",{"_1024":1061,"_1058":1749},{"_1024":1057,"_1058":1748},"Discover the Phillips Asia Spring 2026 Watch Auctions Market Report","Following a historic first half of the year, discover the record-breaking results, standout watches, market statistics, and how Phillips makes the difference by downloading the the Phillips Asia Spring 2026 Watch Auctions Market Report.",{"_1096":1751,"_1024":1098,"_1099":1752,"_1101":1753,"_1103":1104,"_1105":-5,"_1109":1754},"013ae5b67b34","Patek Philippe Ref. 2499 First Series in pink 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WatchesHK@phillips.com或","f54f37efbf86",[1806],[],{"_1096":1807,"_1024":1128,"_1129":1808,"_1131":1809},"92dd0bb23d48",[],"","f29153bb8d28",[1816,1817,1818],[1813],{"_1096":1814,"_1024":45,"_48":1815},"74a67dba8db7"," https://dist.phillips.com/content/assets/Phillips_Asia_Watches_Spring_2026_Market_Report_TC.pdf",{"_1096":1824,"_1024":1128,"_1129":1825,"_1131":1826},{"_1096":1822,"_1024":1128,"_1129":1823,"_1131":1743},{"_1096":1819,"_1024":1128,"_1129":1820,"_1131":1821},"baee8b61d44b",[],"》。","34ffb08c5bec",[1814],"60ccf37bee0c",[],"如欲深入了解富藝斯2026年上半年空前佳績、市場數據及專家洞見，歡迎下載《","8667d9693301",[1831],[],"h4",{"_1096":1832,"_1024":1128,"_1129":1833,"_1131":1834},"fb0d7f55deae",[],"閱讀完整報告","1957b1231eb0",[1838],[],{"_1096":1839,"_1024":1128,"_1129":1840,"_1131":1841},"82562c219e01",[],"「正是這份專業熱情，加上我們始終貫徹的全球一體化協作模式，使我們得以兼顧宏觀視野與細微洞察，為世界各地的委託人與買家提供最高標準的專業建議與服務。」","0ab0a9d971bc",[1845],[],{"_1096":1846,"_1024":1128,"_1129":1847,"_1131":1848},"e89d0cdefa58",[],"他續道：「富藝斯的獨特之處在於我們能夠策劃最高品質的拍賣專場，並在不同市場持續創下佳績。我們的團隊匯聚一群對鐘錶滿懷熱忱的專家，憑藉深厚的學術素養與數十年的實戰經驗，嚴選每一枚登上拍場的珍罕時計。」","cb724d464242",{"_1024":1057,"_1058":1871,"_1059":1863},"1/1",{"_1024":1111,"_1058":1854,"_1059":1855},"https://dist.phillips.com/website/uploads/articles/6-4245c03a-4ff0-45f1-bc4f-b2d1c5773773.jpg",[1864],[1856],{"_1096":1857,"_1024":1115,"_1116":1858,"_1118":1859,"_1120":1121},"514755933ec9",[1860],[],{"_1096":1861,"_1024":1128,"_1129":1862,"_1131":1863},"043099b856da",[],"富藝斯亞洲區鐘錶部主管彭偉時在《名錶薈萃－香港 XXII》拍賣舉槌",{"_1096":1865,"_1024":1115,"_1116":1866,"_1118":1867,"_1120":1121},"239b08c71ec1",[1868],[],{"_1096":1869,"_1024":1128,"_1129":1870,"_1131":1871},"442538a18b97",[],"Thomas Perazzi, Head of Watches, Asia, Phillips during the The Hong Kong Watch Auction: XXII","36295ed4ffc5",[1875],[],{"_1096":1876,"_1024":1128,"_1129":1877,"_1131":1878},"19f51a509cfc",[],"到底如何造就佳績？富藝斯亞洲區鐘錶部主管彭偉時（Thomas Perazzi）於報告序言中，將此歸功於「富藝斯優勢」：嚴謹的拍賣策劃、深厚的專業知識，以及一支致力於服務全球各地委託人與藏家的國際團隊。","bc916266269a",[1882],[],{"_1096":1883,"_1024":1128,"_1129":1884,"_1131":1885},"6ecb82ab43d6",[],"富藝斯優勢","8d7aaa429734",[1891,1892],[1889],{"_1096":1890,"_1024":45,"_48":1815},"81f0f5cffd97",{"_1096":1896,"_1024":1128,"_1129":1897,"_1131":1898},{"_1096":1893,"_1024":1128,"_1129":1894,"_1131":1895},"4f30bcf7fb6a",[],"亦精選了本季最高成交拍品，以及遠超高估價落槌的亮眼時計。","5b272394ca1c",[1890],"報告","dbb91237634b",[1902],[],{"_1096":1903,"_1024":1128,"_1129":1904,"_1131":1905},"7300da7f4ca1",[],"這些數據所呈現的意義，遠遠不止於單一高價成交。以拍品總成交價與低估價之比較計算，富藝斯於現場及網上拍賣中的表現均超越同業蘇富比及佳士得。同時，富藝斯持續拓展全球客戶群，新買家分別佔現場競投者的30%及網上競投參與者的43%。","9ae37a26d5de",{"_1024":1057,"_1058":1928,"_1059":1919},{"_1024":1111,"_1058":1910,"_1059":1911},"https://dist.phillips.com/website/uploads/articles/3-d90308e3-ec93-4bfc-a5f7-0d8b0272978c.jpg",[1920],[1912],{"_1096":1913,"_1024":1115,"_1116":1914,"_1118":1915,"_1120":1121},"b664d34e70ae",[1916],[],{"_1096":1917,"_1024":1128,"_1129":1918,"_1131":1919},"65f7a204a744",[],"極為罕有的百達翡麗型號2499第一代玫瑰金腕錶在《名錶薈萃－香港 XXII》拍賣以80,370,000港元 / 10,255,212美元成交。",{"_1096":1921,"_1024":1115,"_1116":1922,"_1118":1923,"_1120":1121},"b482d7b8603e",[1924],[],{"_1096":1925,"_1024":1128,"_1129":1926,"_1131":1927},"d72c81801705",[],"An exceptionally rare Patek Philippe Ref. 2499 First Series in pink gold, which achieved HK$80,370,000 (US$10,255,212) at the The Hong Kong Watch Auction: XXII","An exceptionally rare Patek Philippe Ref. 2499 First Series in pink gold, which achieved HK$80,370,000/ US$10,255,212 at the The Hong Kong Watch Auction: XXII","bcf6d7266493",[1932],[],{"_1096":1933,"_1024":1128,"_1129":1934,"_1131":1935},"25e34b7c7820",[],"本季亦締造富藝斯亞洲鐘錶拍賣史上最高成交總額，其中百達翡麗型號2499第一代腕錶領銜高踞榜首，並以8,037萬港元（1,026萬美元）成交，創下亞洲拍賣史上最高成交價時計。","7ee3361a7e6e",[1939],[],{"_1096":1940,"_1024":1128,"_1129":1941,"_1131":1942},"844b8c71bbee",[],"\n2026年上半年，香港鐘錶拍賣市場延續強勁增長勢頭。富藝斯現場及網上拍賣合共錄得4.29億港元（5,500萬美元）成交總額，按年增長84%。","83bb0c29d201",[1946],[],{"_1096":1947,"_1024":1128,"_1129":1948,"_1131":1949},"6c45118ee8ef",[],"富藝斯持續提升亞洲市場標準","85a84987c96a",[1955,1956],[1953],{"_1096":1954,"_1024":45,"_48":1815},"20ab35711bb6",{"_1096":1960,"_1024":1128,"_1129":1961,"_1131":1962},{"_1096":1957,"_1024":1128,"_1129":1958,"_1131":1959},"a1c191808957",[],"重新梳理上述創紀錄成交，並置於全球鐘錶拍賣市場的宏觀背景下進行深入分析。","dd400d897f82",[1954],"完整報告","a029ecc0bf96",[1966],[],{"_1096":1967,"_1024":1128,"_1129":1968,"_1131":1969},"44141f70b672",[],"本季共有43件拍品成交價突破100萬美元，其中誕生多項百達翡麗及F.P. Journe錶款的世界拍賣紀錄，包括三枚成交價均逾一千萬美元的重要時計。","2aa1583b1cfa",{"_1024":1057,"_1058":1992,"_1059":1983},{"_1024":1111,"_1058":1974,"_1059":1975},"https://dist.phillips.com/website/uploads/articles/1-9735b453-c78b-4432-ac59-f554dec81a11.jpg",[1984],[1976],{"_1096":1977,"_1024":1115,"_1116":1978,"_1118":1979,"_1120":1121},"a4fce5d2a14f",[1980],[],{"_1096":1981,"_1024":1128,"_1129":1982,"_1131":1983},"4b8421488272",[],"Aurel Bacs為F.P. Journe「Chronomètre à Résonance, Souscription, No. 007」玫瑰金及鉑金兩地時區腕錶拍賣落槌，以13,922,000美元在《The New York Watch Auction: XIV》成交。",{"_1096":1985,"_1024":1115,"_1116":1986,"_1118":1987,"_1120":1121},"0f6bb7611950",[1988],[],{"_1096":1989,"_1024":1128,"_1129":1990,"_1131":1991},"7444ba1dd8e0",[],"Aurel Bacs at the rostrum as the F.P. Journe Chronomètre à Résonance “Souscription, No. 007” sold for $13,922,000 at The New York Watch Auction: XIV","Aurel Bacs at the rostrum as the F.P. Journe Chronomètre à Résonance “Souscription, No. 007” sold for $13,922,000 at The New York Watch Auction: XIV.","80325b92a84d",[1996],[],{"_1096":1997,"_1024":1128,"_1129":1998,"_1131":1999},"d709695a35b3",[],"2026年上半年，富藝斯按成交總額計佔全球鐘錶拍賣市場53%的市場份額，共售出937件拍品，平均每件拍品成交價達25萬美元，整體成交率更高達99.8%。","0c774b7c9f43",[2003],[],{"_1096":2004,"_1024":1128,"_1129":2005,"_1131":2006},"0a5fe40af2e6",[],"\n卓越的拍賣成績始於藏家的信任，而2026年春季拍賣季度正是最佳印證。","e8d9a15e29c8",[2010],[],{"_1096":2011,"_1024":1128,"_1129":2012,"_1131":2013},"f0bfea4db2bc",[],"富藝斯穩踞全球鐘錶拍賣市場領導地位","58ff43b60b90",[2017],[],{"_1096":2018,"_1024":1128,"_1129":2019,"_1131":1809},"c2bc4bbde51b",[],"f76c3c371c59",[2023],[],{"_1096":2024,"_1024":1128,"_1129":2025,"_1131":2026},"6c640b6d4b3c",[],"報告以精要視角呈現鐘錶拍賣史上其中一個最成功拍賣季度的市場概況，適合藏家、委託人，抑或持續關注鐘錶市場發展的業界人士。","c16b8ac12186",[2032,2033,2034],[2030],{"_1096":2031,"_1024":45,"_48":1815},"aa924bab7a45",{"_1096":2041,"_1024":1128,"_1129":2042,"_1131":2043},{"_1096":2038,"_1024":1128,"_1129":2039,"_1131":2040},{"_1096":2035,"_1024":1128,"_1129":2036,"_1131":2037},"fb0958385a00",[],"》聚焦2026年上半年鐘錶拍賣市場的重要成交、市場數據及矚目時計，同時深入回顧亞洲市場於本季所締造的卓越表現。","831ccbb2c741",[2031],"富藝斯亞洲2026年春季鐘錶拍賣市場報告","e9796644c103",[],"《","d1b9a6d659aa",{"_1024":1057,"_1058":2066,"_1059":2057},{"_1024":1111,"_1058":2048,"_1059":2049},"https://dist.phillips.com/website/uploads/articles/4-0699ba81-fdb8-4bde-9d0e-c74e3d61bc98.jpg",[2058],[2050],{"_1096":2051,"_1024":1115,"_1116":2052,"_1118":2053,"_1120":1121},"6395c7dd350b",[2054],[],{"_1096":2055,"_1024":1128,"_1129":2056,"_1131":2057},"cb97f990ed25",[],"F.P. JOURNE「Tourbillon Souverain, ‘Chine 2010 38’」型號限量版鉑金陀飛輪腕錶在《名錶薈萃－香港 XXII》拍賣以32,965,000港元 / 4,206,334美元成交，高出估價逾四倍。",{"_1096":2059,"_1024":1115,"_1116":2060,"_1118":2061,"_1120":1121},"f00b4cf3cf38",[2062],[],{"_1096":2063,"_1024":1128,"_1129":2064,"_1131":2065},"c496374bc009",[],"The F.P. Journe Tourbillon Souverain, “Chine 2010 38,” that sold for HK$32,965,000 / US$4,206,334, over four times its estimate, at The Hong Kong Watch Auction: XXII","The F.P. Journe Tourbillon Souverain, “Chine 2010 38”, circa 2010, that sold for HK$32,965,000/ US$4,206,334, over four times its estimate, at The Hong Kong Watch Auction: XXII","73697c002227",[2070],[],{"_1096":2071,"_1024":1128,"_1129":2072,"_1131":2073},"f63314230ccc",[],"日內瓦、香港、紐約三地拍賣總成交額合共逾2.35億美元，富藝斯因此成為鐘錶拍賣史上首家於單一季度內達成此里程碑的拍賣行，同時刷新多項市場紀錄，並為全球市場樹立全新標竿。","f1e31fddd0f7",[2077],[],{"_1096":2078,"_1024":1128,"_1129":2079,"_1131":2080},"b4c01fc98a2e",[],"2026年上半年，富藝斯鐘錶迎來歷史性拍賣季度。",{"_1096":2338,"_1024":1115,"_1116":2339,"_1118":2340,"_1120":1121},{"_1096":2331,"_1024":1115,"_1116":2332,"_1118":2333,"_1120":1121},{"_1096":2044,"_1024":1098,"_1101":2323,"_1103":1851,"_1107":2324,"_1109":2047},{"_1096":2308,"_1024":1115,"_1116":2309,"_1118":2310,"_1120":1121},{"_1096":2301,"_1024":1115,"_1116":2302,"_1118":2303,"_1120":1121},{"_1096":2294,"_1024":1115,"_1116":2295,"_1118":2296,"_1120":1270},{"_1096":2000,"_1024":1115,"_1116":2289,"_1118":2290,"_1120":1121},{"_1096":2282,"_1024":1115,"_1116":2283,"_1118":2284,"_1120":1121},{"_1096":1970,"_1024":1098,"_1101":2274,"_1103":1851,"_1107":2275,"_1109":1973},{"_1096":2267,"_1024":1115,"_1116":2268,"_1118":2269,"_1120":1121},{"_1096":1963,"_1024":1115,"_1116":2253,"_1118":2254,"_1120":1121},{"_1096":1943,"_1024":1115,"_1116":2247,"_1118":2248,"_1120":1270},{"_1096":1936,"_1024":1115,"_1116":2242,"_1118":2243,"_1120":1121},{"_1096":2235,"_1024":1115,"_1116":2236,"_1118":2237,"_1120":1121},{"_1096":1906,"_1024":1098,"_1101":2227,"_1103":1851,"_1107":2228,"_1109":1909},{"_1096":2220,"_1024":1115,"_1116":2221,"_1118":2222,"_1120":1121},{"_1096":2203,"_1024":1115,"_1116":2204,"_1118":2205,"_1120":1121},{"_1096":2196,"_1024":1115,"_1116":2197,"_1118":2198,"_1120":1270},{"_1096":2189,"_1024":1115,"_1116":2190,"_1118":2191,"_1120":1121},{"_1096":1849,"_1024":1098,"_1101":2181,"_1103":1851,"_1107":2182,"_1109":1853},{"_1096":2174,"_1024":1115,"_1116":2175,"_1118":2176,"_1120":1121},{"_1096":2167,"_1024":1115,"_1116":2168,"_1118":2169,"_1120":1121},{"_1096":2160,"_1024":1115,"_1116":2161,"_1118":2162,"_1120":1270},{"_1096":2142,"_1024":1115,"_1116":2143,"_1118":2144,"_1120":1121},{"_1096":2136,"_1024":1115,"_1116":2137,"_1118":2138,"_1120":1121},{"_1096":2122,"_1024":1115,"_1116":2123,"_1118":2124,"_1120":1121},{"_1096":2115,"_1024":1115,"_1116":2116,"_1118":2117,"_1120":1121},{"_1096":2109,"_1024":1115,"_1116":2110,"_1118":2111,"_1120":1121},"e091aee6df5f",[2112],[],{"_1096":2113,"_1024":1128,"_1129":2114,"_1131":1809},"15833995ef07",[],"4f3a57404f4a",[2118],[],{"_1096":2119,"_1024":1128,"_1129":2120,"_1131":2121},"253e53bce0ad",[],"Contact enquiry: WatchesHK@phillips.com","9fdf883ab324",[2128,2129],[2125],{"_1096":2126,"_1024":45,"_48":2127},"ae018db80402","https://www.phillips.com/buysell/sell",{"_1096":2133,"_1024":1128,"_1129":2134,"_1131":2135},{"_1096":2130,"_1024":1128,"_1129":2131,"_1131":2132},"172469c2af29",[]," > ","40864115c817",[2126],"Sell with Phillips","048ba3863b71",[2139],[],{"_1096":2140,"_1024":1128,"_1129":2141,"_1131":1809},"c40629b1b0e7",[],"8fc1e449d4c6",[2148,2149,2150],[2145],{"_1096":2146,"_1024":45,"_48":2147},"90b9e45eee46","https://dist.phillips.com/content/assets/Phillips_Asia_Watches_Spring_2026_Market_Report.pdf",{"_1096":2157,"_1024":1128,"_1129":2158,"_1131":2159},{"_1096":2154,"_1024":1128,"_1129":2155,"_1131":2156},{"_1096":2151,"_1024":1128,"_1129":2152,"_1131":2153},"b888f2a7563b",[],".","7ba0cf116925",[2146],"Phillips Asia Spring 2026 Watch Auctions Market Report","eb8508414f45",[],"To explore the complete results, market statistics, and specialist commentary from Phillips' historic first half of 2026, download the ","79b7895fd938",[2163],[],{"_1096":2164,"_1024":1128,"_1129":2165,"_1131":2166},"72cd7033d903",[],"Read the Full Report","42cf50a269e4",[2170],[],{"_1096":2171,"_1024":1128,"_1129":2172,"_1131":2173},"730061ad132d",[],"He continues: “Given this dedication and our absolute commitment to working as a unified global team, we have a unique vantage point that allows us to advise both consignors and buyers at the highest level across all selling locations.”","2e0ce47edf3f",[2177],[],{"_1096":2178,"_1024":1128,"_1129":2179,"_1131":2180},"f9e722a3055c",[],"“What distinguishes Phillips is our ability to curate sales of the highest quality while delivering exceptional outcomes consistently across regions,” says Perazzi. “Our team is composed of those with a deep passion for watches, bringing connoisseurship and decades of experience to every watch we present.”",{"_1024":1057,"_1058":1871},{"_1024":1111,"_1058":2183},[2184],{"_1096":1865,"_1024":1115,"_1116":2185,"_1118":2186,"_1120":1121},[2187],[],{"_1096":1869,"_1024":1128,"_1129":2188,"_1131":1871},[],"a45cac50f298",[2192],[],{"_1096":2193,"_1024":1128,"_1129":2194,"_1131":2195},"558ff982d702",[],"So what lies behind these eye-catching results? In his foreword to the report, Thomas Perazzi, Head of Watches, Asia, attributes them to what he calls the \"Phillips Difference\": rigorous sale curation, specialist knowledge, and a global team devoted to serving both consignors and collectors across every selling location.","f5d07378a977",[2199],[],{"_1096":2200,"_1024":1128,"_1129":2201,"_1131":2202},"e39c4433d5cf",[],"The “Phillips Difference”","d9c39ebc7528",[2208,2209,2210],[2206],{"_1096":2207,"_1024":45,"_48":2147},"fb922cbd96e5",{"_1096":2217,"_1024":1128,"_1129":2218,"_1131":2219},{"_1096":2214,"_1024":1128,"_1129":2215,"_1131":2216},{"_1096":2211,"_1024":1128,"_1129":2212,"_1131":2213},"e99a131431b9",[]," highlights the season's top lots alongside the watches that achieved the strongest performances against their pre-sale high estimates.","2ad45f591b53",[2207],"report","a9d9ac6d1b05",[],"The ","66183d6ed2ea",[2223],[],{"_1096":2224,"_1024":1128,"_1129":2225,"_1131":2226},"490a929fc316",[],"The figures tell a broader story than record prices alone. Measured by total hammer price against the pre-sale low estimate, Phillips outperformed both Sotheby's and Christie's across live and online auctions, while continuing to expand its collector base, with new buyers accounting for 30% of live bidders and 43% of online participants.",{"_1024":1057,"_1058":1928},{"_1024":1111,"_1058":2229},[2230],{"_1096":1921,"_1024":1115,"_1116":2231,"_1118":2232,"_1120":1121},[2233],[],{"_1096":1925,"_1024":1128,"_1129":2234,"_1131":1927},[],"083c5fba10c3",[2238],[],{"_1096":2239,"_1024":1128,"_1129":2240,"_1131":2241},"0ec0f6ead5a2",[],"The season also produced the highest watch sale total in Phillips Asia's history, led by the sale of a Patek Philippe Ref. 2499 First Series that became the most valuable timepiece ever sold in Asia, achieving HK$80.37 million (US$10.26 million).",[2244],[],{"_1096":1940,"_1024":1128,"_1129":2245,"_1131":2246},[],"Hong Kong continued its rapid rise during the first half of 2026, with Phillips' online and live auctions realizing a combined HK$429 million (US$55 million), an 84% increase year on year.",[2249],[],{"_1096":2250,"_1024":1128,"_1129":2251,"_1131":2252},"6892f3b22c8b",[],"Phillips Raises the Bar in Asia",[2257,2258,2259],[2255],{"_1096":2256,"_1024":45,"_48":2147},"abdab5343890",{"_1096":2265,"_1024":1128,"_1129":2266,"_1131":2219},{"_1096":2262,"_1024":1128,"_1129":2263,"_1131":2264},{"_1096":1967,"_1024":1128,"_1129":2260,"_1131":2261},[]," revisits these record-breaking results, placing them in the context of the wider watch auction market.","99e7026ca870",[2256],"full report","af16f35b62de",[],"575d672dd8c2",[2270],[],{"_1096":2271,"_1024":1128,"_1129":2272,"_1131":2273},"1c197ed36b44",[],"The season also included 43 lots that realized more than US$1 million, among them three watches that each sold for over US$10 million, including world-record results for Patek Philippe and F.P. 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Cartier Panthère: Timeless Power

Ruby: Radiant Rarity

Lot 582: Ruby and Diamond Ring.

Natural Pearls: Rare Refinement

Lot 552: House of Glenn Spiro Natural Pearl, Seed Pearl, Diamond and Icy Jadeite Necklace

Jadeite: Cultural Elegance

Lot 587: Pair of Jadeite and Diamond Earrings

極致工藝

拍品589: 裝飾藝術紅寶石, 祖母綠, 藍寶石配鑽石手鏈, 1931年, 卡地亞，珍貴珠寶：香港拍賣。

拍品575: 鋁金「Pansy」耳夾一對, JAR，珍貴珠寶：香港拍賣。

三龍登場

拍品569:「緬甸」天然紅寶石配鑽石耳環一對, 紅寶石共重約4.03克拉, 未經加熱處理，珍貴珠寶：香港拍賣。

拍品559: 9.22克拉「哥倫比亞」天然祖母綠配鑽石戒指, 祖母綠未經淨度處理，珍貴珠寶：香港拍賣。

拍品528: 鑽石手鏈，珍貴珠寶：香港拍賣。

美玉與戲雀

拍品587: 天然翡翠配鑽石耳環一對，珍貴珠寶：香港拍賣。

拍品544: 天然翡翠配鑽石別針，珍貴珠寶：香港拍賣。

聲韻之境

拍品507: 瓷製配寶石「Chandra」手鐲, 寶格麗，珍貴珠寶：香港拍賣。

拍品566: K金配鑽石手鏈, 梵克雅寶，珍貴珠寶：香港拍賣。

A Perfected Craft

Lot 589: Cartier, Art Deco Ruby, Emerald, Sapphire and Diamond Bracelet, 1931. The Hong Kong Jewels Auction.

Lot 575: JAR, Pair of Aluminum Ear Clips, 'Pansy'. The Hong Kong Jewels Auction.

Enter the Three Dragons

Lot 569: Pair of Ruby and Diamond Earrings. The Hong Kong Jewels Auction.

Lot 559: Emerald and Diamond Ring. The Hong Kong Jewels Auction.

Lot 528: Diamond Bracelet. The Hong Kong Jewels Auction.

The Stone of Heaven and the Game of Sparrows

Lot 587: Pair of Jadeite and Diamond Earrings. The Hong Kong Jewels Auction.

Lot 544: Jadeite and Diamond Brooch. The Hong Kong Jewels Auction.

The Soundscape

Lot 507: Bulgari, Porcelain and Gem Set Bangle, 'Chandra'. The Hong Kong Jewels Auction.

Lot 566: Van Cleef & Arpels, Gold and Diamond Bracelet. The Hong Kong Jewels Auction.

Zhang Xiaogang

Huang Yuxing

Huang Yuxing, Full Moon, 2017–2018. Modern & Contemporary Art Evening Sale Hong Kong.

Ding Yi

Ding Yi, Appearance of Crosses 99-9, 1999. Modern & Contemporary Art Evening Sale Hong Kong.

Cui Jie

Cui Jie, Escape #2, 2017. Modern & Contemporary Art Sale Hong Kong.

Cui Jie, Western City Gate, 2017/2021. Modern & Contemporary Art Sale Hong Kong.

Discover More

Zeng Fanzhi, Portrait 08-12-4, 2008. Modern & Contemporary Art Hong Kong.

Liang Yuanwei, 6 works: Piece of Life, 2006–2007. Modern & Contemporary Art Hong Kong.

張曉剛

黃宇興

黃宇興《月圓》， 2017至2018年作。現代及當代藝術晚間拍賣

丁乙

丁乙《十示 99-9》1999年作。現代及當代藝術晚間拍賣

崔潔

崔潔《逃離第2號》，2017年作。現代及當代藝術精選拍賣

崔潔《西城門》 2017/2021年作。現代及當代藝術精選拍賣

更多精選

曾梵志《肖像 08-12-4》，2008年作。現代及當代藝術精選拍賣

梁遠葦，六件作品：《生活的片斷》，2006–2007年作。現代及當代藝術精選拍賣\n\n

Yayoi Kusama is the most expensive living female artist

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

She lives in a psychiatric facility in Tokyo, voluntarily

Yayoi Kusama, Infinity Dots, 1992. Modern & Contemporary Art Hong Kong.

She’s had a lifelong aversion to sex — but represented free love

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

Yayoi Kusama, Untitled, 1965. Modern & Contemporary Art Hong Kong.

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

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

Yayoi Kusama, River, 1994. Modern & Contemporary Art Hong Kong.

She was a fashionista well before her Louis Vuitton collaborations

Yayoi Kusama, Macaroni Dress, 1963. Modern & Contemporary Art Hong Kong.

She uses polka dots to get out of her head

Yayoi Kusama, Flower (A), 1985. Modern & Contemporary Art Hong Kong.

She grew up on a massive plant nursery and seed farm in Japan

Yayoi Kusama, Shinanoji, 1984. Modern & Contemporary Art Hong Kong.

Yayoi Kusama, FLOWERS (1), 1985. Modern & Contemporary Art Hong Kong.

草間彌生是史上最高拍賣成交紀錄的在世女藝術家

草間彌生，《無題（網）》，1959年作。成交價10,496,000美元。現代及當代藝術晚間拍賣，2022年5月，紐約。

\n她自願入住東京的精神病院

草間彌生《無限的點》，1992年作。現代及當代藝術精選拍賣。

她終生厭性，卻代表著自由的愛

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

草間彌生《無題》， 1965年作。現代及當代藝術精選拍賣。

草間彌生的《南瓜》與安迪．沃荷的《湯罐》並駕齊驅

梁遠葦，六件作品：《生活的片斷》，2006–2007年作。現代及當代藝術精選拍賣
\n
\n

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

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

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

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

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

王俊傑《隱居者》，2017年作。現代及當代藝術精選拍賣，香港。

陳逸飛《拱橋倒影（蘇州）》，1987年作。現代及當代藝術精選拍賣，香港。

黃進曦《巨浪裏的天星》，2021年作。現代及當代藝術精選拍賣，香港。

香港維多利亞港。圖片來源：robertharing / Alamy

莎拉·休斯《多層》， 2020年作。現代及當代藝術精選拍賣，香港。

蒙古的日落。圖片來源： Imaginechina Limited / Alamy

黛西·多德-諾布爾《無題》，2023年作。現代及當代藝術精選拍賣，香港。

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