Editor’s picks | | | Bodies in motion have always been a fascination of the British artist Julian Opie. His 2022 work Old Street Walkers, presenting six pedestrians making their way along a London thoroughfare, uses lenticular panels to create the illusion of movement as the viewer passes by. The footless figures are reduced to a minimum of lines, yet each retains its unique character Estimate: £50,000-70,000 until 1 April, Online | | | | | | In Tibet, Land of Living Buddhas, painted in 1927, the intrepid French artist and explorer Léa Lafugie records the arrival of her caravan on the shores of Pangong Tso, a lake lying partly in Tibet and partly in India. She deftly conveys the vertiginous drama of the scene, from the blue-green waters edged with pink sand to the mountains rising beyond and the glaciers gleaming in the distance Estimate: HK$50,000-70,000 29 March, Hong Kong | | | | | | The vivid colour of Nicole Wittenberg’s 2021 painting Sweet William shows an affinity with Fauvism that began in childhood. One of the first artworks she remembers setting eyes on was Henri Matisse’s Woman with a Hat at the San Francisco Museum of Modern Art. ‘I was younger than 10 when I first saw that picture,’ she says, ‘and I just wanted to go back and see it again and again’ Estimate: HK$200,000-400,000 29 March, Hong Kong | | | | | | As both artist and theorist, Georges Mathieu was an advocate of lyrical abstraction — an art divorced from thought or representation, and best produced in an ecstatic state. Les yeux du jour (The Eyes of the Day), from 1987-88, epitomises the intense energy of the painter’s work, with a strong horizontal element from which forms seem to explode in every direction Estimate: HK$500,000-800,000 29 March, Hong Kong | | | | | | |
