景薰樓-2020夏季拍賣圖錄 by JSL AUCTION

景薰樓 2020 夏季拍賣會亞洲華人現當代藝術 ˙ 中國書畫 JSL 2020 SUMMER AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART CHINESE PAINTING

拍賣日期 2020

星期日下午 2:30

Sunday Sep 13th 2020 PM 2:30

景薰樓 2020 年夏季拍賣會亞洲華人現當代藝術中國書畫

2020年 09月 13日星期日 PM 2:30

富邦人壽大樓國際會議中心台北市敦化南路一段108號B2 拍賣諮詢 +886 4 2295 5528 +886 2 8771 7989

預展日期∕地點

JSL 2020 SUMMER AUCTION ASIAN, CHINESE MODERN & CONTEMPORARY ART CHINESE PAINTING

SEP 13th, 2020 SUNDAY PM 2:30 Fubon International Conference Center B2,No.108,Sec.1,Dun-Hua South Road, Taipei, Taiwan Service Tel:+886 4 2295 5528 +886 2 8771 7989

PREVIEWS Date / Venue

台中景薰樓333藝廊

TAICHUNG JSL 333 GALLERY

2020年08月15日(六) - 09月06日(日) 10:00-19:00 台中市西屯區華美西街二段333號B1 電話 +886 4 2316 1833

Aug 15th-Sep 06th, 2020 (Saturday-Sunday)10:00-19:00 B1, No.333,Sec. 2,Huamei W. St, Taichung, Taiwan Tel: +886 4 2316 1833

台北富邦人壽大樓國際會議中心 2020年09月11日(五) 10:00-19:00 2020年09月12日(六) 10:00-17:00

諮詢洽購精品鑑賞會古董珍玩

TAIPEI Fubon International Conference Center Sep 11th (Friday) 10:00-19:00 Sep June12th (Saturday) 10:00-17:00 B2,No.108,Sec.1,Dun-Hua South Road, Taipei, Taiwan Tel: +886 4 2295 5528 +886 2 8771 7989

To purchase, please contact our sales. Boutique Appreciation Antiques

景薰樓國際藝術拍賣公司

JSL AUCTION CO.

拍賣諮詢 / 陳碧真吳翰儒

Auction Consulting: Jade Chen, Han Ru, Wu

諮詢電話 +886 4 2295 5528 諮詢電話 +886 2 8771 7989

Website : www.jslauction.com E-mail : service@jslauction.com

官方網站

Service Tel : +886 4 2295 5528 Service Tel : +886 2 8771 7989

LINE官方帳號

景薰樓 2020 夏季拍賣部門

JSL 2020 SUMMER Auction Department and Staff

景薰樓的辦事處，可協助閣下參與本次舉行拍賣會的競投外，並提供藝術品仲介服務，以及專業的藝術諮詢暨投資建議，詳情請洽景薰樓國際藝術拍賣公司。 JSL offices will assist clients in bidding of this auction, besides, we offer the services of agent and professional art investment consultation, please contact the company for further information.

創辦人董事長

林振廷陳碧真

Art and Sculpture

亞洲現當代藝術部執行總監行政主管藝術主管

古董珍玩部

執行總監諮詢專家

Chen Ting, LIN Jade, CHEN

Chief Executive Administrative Art Director

陳碧真林麗美吳翰儒

Jade, CHEN May, LIN Han Ru, WU

Chinese Ceramics & Works of Art

Chief Executive Jade, CHEN Advisory Consultant Han Ru, WU

陳碧真吳翰儒

Chinese Painting

近現代書畫部執行總監諮詢專家

Advisor Chairperson

Chief Executive Jade, CHEN Advisory Consultant Han Ru, WU

陳碧真吳翰儒

景薰樓國際藝術拍賣公司網站 / www.jslauction.com 信箱 / service@jslauction.com

臺中總公司

臺北辦公室

臺中市北區華美街二段262號B1 電話: +886 4 2295 5528 傳真: +886 4 2295 5529 台灣: 林麗美

臺北市松山區敦化南路一段102號電話: +886 2 8771 7989 傳真: +886 2 8771 7698 台北: 吳翰儒

JSL AUCTION.

Taichung B1, No. 262, Section 2, Hua-Mei Street, Taichung, Taiwan Tel: +886 4 2295 5528 Fax: +886 4 2295 5529 Central and southern Taiwan

Taipei No. 262, Sec.1, Dun-Hua South Road Taipei, Taiwan Tel: +886 2 8771 7989 Fax: +886 2 8771 7698 Northern Taiwan Han Ru, WU

www.jslauction.com service@jslauction.com

May, LIN

景薰樓2020夏季拍賣相關諮詢服務聯絡人 JSL 2020 SUMMER Auction Consultation & Services 買家支付之酬金說明買家除支付成交價外，另須支付酬金於本公司，酬金費率計算方式為：每件拍賣品成交價為新台幣20,000,000元或 20,000,000元以下以20%計算；成交價超過20,000,000元者，則超過新台幣20,000,000元之部分以12% 計算。

客戶諮詢服務

Premium

The buyer's premium payable by the buyer of each lot is at a rate of 20% on the first NTD 20,000,000 of the hammer price and at a rate of 12% on the amount by which the hammer price exceeds NTD 20,000,000

Customer Services

關於本次拍賣的任何訊息查詢請洽：台灣區陳碧真吳翰儒林麗美電話:+886 4 2295 5528 傳真:+886 4 2295 5529

Please contact the following staffs for relevant information of the auction: Taiwan : Jade CHEN/Han Ru WU/May, LIN Tel:+886 4 2295 5528 Fax:+886 2 2295 5529 Tel:+886 2 8771 7989 Fax:+886 2 8771 7698

電話競標

Phone Bid

如您無法親臨拍賣場，歡迎您事先與我們聯繫以電話競標，為期能妥善安排電話競標事宜，請於拍賣前24小時通知本公司：陳碧真吳翰儒林麗美電話:+886 4 2295 5528

If you cannot attend the auction, you are welcome to

bid on the telephone. For the best arrangement, please contact us at least 24 hours before the auction: Jade CHEN/Han Ru WU/May, LIN Tel:+886 4 2295 5528

書面投標如您無法親臨拍賣場，亦可利用本圖錄後頁所付之書面委託單投標，請洽：陳碧真吳翰儒林麗美電話:+886 4 2295 5528

付款事宜景薰樓樂意提供您本次拍賣當中，任何一項拍品的狀況說明，惟請準買家須注意拍品均是以「當時認定」之狀況賣出，相關細則及付款詳細事宜請參照本圖錄之交易條款。如需進一步諮詢，請洽：客服管理部林麗美 +886 4 2295 5528

取件事宜所有拍品在款項結清後，即可取件：得標者請儘早連絡送件事宜，以便集中流通運輸安排。本公司接受個人及公司支票付款，惟須在兌現後始能取件。所有拍品亦可在景薰樓藝文空間提領。開放時間為週一至週六10:00～18:00或接受預約。請洽：吳翰儒電話:+886 2 8771 7989(臺北) 林麗美電話:+886 4 2295 5528(臺中)

物品運輸景薰樓可為您建議或安排最適當的運輸方式，及有關進出藝術品的必要手續，可代客安排將拍賣品包裝及託運往外國，詳情請洽：吳翰儒電話:+886 2 8771 7989(臺北) 林麗美電話:+886 4 2295 5528(臺中)

延遲提取惟買家若於拍賣後35天內仍未提取拍賣品，將收取儲存費用，費用為每天新台幣250元。

圖錄訂閱本圖錄歡迎各界人士訂閱訂閱請洽：林麗美電話:+886 4 2295 5528

圖錄價格

Buyers who cannot attend a sale can bid by using the Entrusted Bid From, which is attached in this catalogue.For futher information, please contact: Jade CHEN / Han Ru WU/ May, LIN Tel:+886 4 2295 5528

Payment

The company is pleased to interpret the condition of any lot in this auction, lot is sold as the condition that prospective buyer ‘granted at the time’, buyer please refer to the Condition of Business for relevant details.For further information about method and terms of payment for buyers, please contact our Financial Department: Customer Services Department May, LIN

All lots will be available for collection after payment at the end of each sale. Buyers are reminded to make collection arrangement as soon as possible to facilitate storing and handing procedures. Although personal and company checks are accepted, buyers are advised until such checks have cleared. Payment by cash or banker's draft will enable immediate release of purchases. Lots can be collected at JSL International Auctions. Office commences Monday to Saturday 10:00-18:00. Or make appointment for any other time. Han-Ru WU Tel:+886 2 8771 7989(Taipei) May, LIN Tel:+886 4 2295 5528(Taichung)

Shipping

Advice on the most proper means of dispatch and arrangement of shipping to foreign countries can be obtained from Administration Management Department : Han-Ru WU Tel:+886 2 8771 7989(Taipei) May, LIN Tel:+886 4 2295 5528(Taichung)

Storage

Buyers shall collect purchased lots within 35 days from the date of the sale . Otherwise, we shall arrange at the buyers expense at NTD250 per lot per day.

新台幣1000元，美金35元，海外郵資需自付。圖錄內估價及拍賣當日所提供之美金等貨幣估價，僅為參考。本次拍賣會以新台幣結算，買方如以新台幣之外其他外幣繳付，惟請買方核實新台幣繳付當日匯率，折合所繳付之等值貨幣計算。

On buying the catalogue, please contact the Administration Department: May, LIN +886 4 2295 5528

雅昌網線上瀏覽(Online Preview)

Price

http://auction.artron.net/taiwanjingxunlou

景薰樓官方網站 http://www.jslauction.com

NTD 1,500 USD 50 All estimates in U.S. Dollar in this catalogue and at auction are for reference only. All payments related to this auction are based on New Taiwan Dollar, buyers who pay by foreign currency, please pay as the exchange rate of the paying day.

風靡日本的藝術潮物遠自1960年代起，從英國、美國興起的普普藝術（Pop Art）延伸至今，逐漸經由日本漫畫、動畫、電影的推廣，間接影響日本當代藝術的創作思維，「鮮明的色彩、以平塗及勾邊的方式所繪製的圖像」，已成為當代藝術家創作風格的特色之一。而這些作品，充滿了可愛、夢幻、鮮明、絢麗等各種多元風格，除了喚起童年記憶，也試圖嘲諷當下，促使觀者將思緒停留在扁平幻想世界之中。日本卡通節目的興起，使得下課後收看卡通電視已經成為臺灣孩童的樂趣之一。由手塚治虫連載1952年至 1968年的漫畫Lot 1098 《原子小金剛》，經歷三次的動畫改編，1980年代於臺灣播出。小男孩外表的原子小金剛，看似弱小卻擁有一顆善良、具有正義感的心，儘管身份備受歧視，仍然努力作為人類與機器人之間的橋樑，替人類解決許多危機，希望大家都能和平共處。討喜的外表與正向積極的態度，深受大眾喜愛。井上雄彥所繪的Lot 1103《灌籃高手》於1990年連載至1996年，1993年日本電視台播放動畫，1995年於臺灣首播後，更創下重播數十次的紀錄，卡漫世界的熱潮與大眾文化的推波助瀾，進而讓圖像藝術深植人心。

Popular Japanese Fashion Collections The pop art from the United Kingdom and the United States in the 1960s has been extended to this day. The promotion of Japanese comics, animation, and movies has gradually influenced civil society and even the creative thinking of contemporary art. It has vivid colors and flat images. The images drawn by painting and edging have become one of the characteristics of contemporary artists’ creative style. These works are full of cute, dreamy, bright, beautiful and other diverse styles, in addition to reflecting the current youthful vitality, but also arouse childhood memories, prompting viewers to stay in the flat fantasy world. The rise of the Japanese cartoon program made it a pleasure for Taiwanese children to watch cartoon television after class. Tezuka pests serialized the cartoon Lot 1098 “Atomic King Kong” from 1952 to 1968 and experienced three animation adaptations. They were allocated in Taiwan in the 1980s. The appearance of the atom’s small diamond, which looks small and weak, has a kindhearted, righteous heart. Although his identity is subject to discrimination, he still strives to serve as a bridge between humans and robots and solves many crises for humanity. He hopes everyone can make peace. The positive appearance and attitude of loving people are deeply loved by the public. Lot 1103 “Slam Dunk” painted by Inoue Takehiko was serialized in 1990 to 1996. In 1993, Japanese TV broadcasted animation. After being premiered in Taiwan in 1995, it was broadcast again in Taiwan for dozens of times. The population of the image art has instilled in the image art.

村上隆、奈良美智，並列當代名氣最高的日本藝術家。他們不僅在藝術領域各領風騷，創作跨界合作，受到流行時尚、文學、商品與大眾文化的喜愛。村上隆更提倡超扁平創作視角，以卡漫人物繽紛愉悅、掌握時代與潮流的趣味，將藝術商品化，積極推廣聯名活動；奈良美智筆下的小女孩溫暖、親和、觸動人心，「即使世界崩塌，我也想在創作中保持童年時的單純心境」保留了赤子之心，對社會變動，提出天真嘲諷的反抗話語，令人著迷且銘記腦海。直至當下，大眾日常也逐漸能從餐廳、咖啡店、精品店之中找尋到藝術家的作品圖像，它們化為各種周邊用品、擺設用的裝飾玩具、公仔、海報、模型等，深受大眾喜愛。

Takashi Murakami and Yoshitomo Nara are the most famous contemporary Japanese artists. They not only led the art field and created cross-border cooperation, but also enjoyed fashion, literature, commodities and popular culture. Takashi Murakami advocates ultra-flattering, creating card people with colorful pleasures and mastering the times and trends. Fun, the commercialization of the arts, and the widespread promotion of joint events; the young girl under Nara Michi’s pen is warm, affectionate, and touches people’s hearts. “Even if the world collapses, I would like to keep my childhood’s pure state of mind in my creation.” The artist retains his heart. The rebellious words that ridiculed the social changes are fascinating and bear in mind. Until now, the public can gradually find images of artists’ works from restaurants, coffee shops, and boutiques. They are transformed into various peripheral products, decorative toys, dolls, posters, models, and admired by the public.

1001

草間彌生 (b.1929)

Yayoi KUSAMA

瓷盤三件組

Ceramic Plates(Set of 3)

瓷器限量500件 11×11×3 cm、23×23×2 cm、28.5×28.5×1.5 cm (4.3×4.3×1.2 in.、9.1×9.1×0.8 in.、11.2×11.2×0.6 in.)

Porcelain

附原包裝盒

NT$ 30,000-60,000 HK$ 8,000-16,000 US$ 1,020-2,050

Edition of 500 With original box

1002

洪易 (b.1970)

HUNG Yi

福虎生豐四件組

Tiger(Set of 4)

大：FRP（玻璃纖維強化樹脂）小：瓷器右下:67×22×45 cm (26.4×8.7×17.7 in.) 右上:17×8×14 cm (6.7×3.1×5.5 in.) 左2:17×8×12.5 cm (6.7×3.1×4.9 in.)

Large one: FRP(Fiber Reinforced

左2 附原包裝盒

1002

1003

Plastic) Small ones: Porcelain Left two with original box

NT$ 40,000-60,000 HK$ 10,600-16,000 US$ 1,360-2,050

1003

洪易 (b.1970)

HUNG Yi

親簽羊四件組

Goat(Set of 4)

上：瓷器 18×8×11 cm (7.1×3.1×4.3 in.) 下：瓷器 2016 限量999件 23.5×12×18 cm (9.3×4.7×7.1 in.)

Porcelain

附工作室開立之證明

Certificate issued by studio

附原包裝盒

With original box

Up: Porcelain 18×8×11 cm Down: Porcelain 2016 Edition of 999

NT$ 25,000-50,000 HK$ 6,700-13,300 US$ 850-1,710

Takashi MURAKAMI Mr DOB Figure(Red-blue) PVC (Polyvinyl Chloride) The red and blue Edition of 750 pieces Attached original box A limited edition Mr DOB sculpture for Japanese artist Takashi Murakami and BAIT, a well-known shoe shop in California, at the ComplexCon venue

1004

村上隆 (b.1962) Mr DOB雕塑（紅藍） PVC（聚氯乙烯）雕塑紅藍限量750件 23.5×27.5×19.5 cm (9.3×10.8×7.7 in.)

NT$ 50,000-80,000 HK$ 13,300-21,300 US$ 1,710-2,730

拍品為日本藝術家村上隆與美國加州知名球鞋店鋪BAIT 攜手於ComplexCon會場推出的限量版Mr DOB雕塑

附作品原盒

1005

KAWS (布萊恩．唐納利) (b.1974) 伴侶(三色) 綜合媒材搪膠雕塑 29×24 cm (11.4×9.4 in.) 附原包裝盒

1006

KAWS (Brian Donnelly)

馬克．萊恩 (b.1963)

Mark Ryden

Together Vinyl Figure (set of 3)

動物盤子組

Friendly Animal Plates

Multiple, vinyl

三聚氰胺盒子26.7×26.7×7.6 cm (10.5×10.5×3 in.) 盤子25.4×25.4×1.9 cm (10×10×0.75 in.)

With original box

NT$ 85,000-120,000 HK$ 22,600-31,900 US$ 2,900-4,090

附原包裝盒

Melamine With original box

NT$ 15,000-30,000 HK$ 4,000-8,000 US$ 510-1,020 2

1007

班克斯 (b. 1974)

Banksy

擲花者

Flower Bomber

寶麗石粉樹脂 2016 36×11.5×40 cm (14.1×4.5×15.7 in.) 註冊商標： © MMXV Full Colour Black Ltd. （右腳底部）白：MEDICOM TOY 2016 CHINA

Polystone 2016

附原包裝盒

Trademark: ©MMXV Full Colour Black Ltd.(R) White:MEDICOM TOY 2016 CHINA With original box

NT$ 35,000-60,000 HK$ 9,300-16,000 US$ 1,190-2,050

1008

紅水晶庫柏力克熊

BE@RBRICK fragmentdesign

Baccarat紅水晶 2019 印 Fragment Design 商標（作品背面）印 Baccarat 商標（作品底部）此作品為限量版 12×6×6 cm (4.7×2.4×2.4 in.)

POLYGON RED

附原包裝盒

NT$ 90,000-130,000 HK$ 23,900-34,600 US$ 3,070-4,430

Baccarat red crystal 2019 printed with Fragment Design logo on the back and Baccarat logo on the underside executed in 2019, this work is from a limited edition. With original box

1009

班克斯 (b. 1974) 掛牌猴子－什麼都不做

MONKEY SIGN-Do Nothing

你可以活的更久

You'll Live Longer (Black,

（黑、白，兩件一組）

White, set of 2)

鑄模樹脂雕塑 2016 19×15×35 cm×2 (7.4×5.9×13.7 in.)×2 黑限量600件白限量155件註冊商標： © MMXVI Full Colour Black Ltd. （右腳底部） MEDICOM TOY 2016 CHINA （左腳底部） 3

Banksy

附原包裝盒

Cast resin sculpure 2016 Black Edition of 600 White Edition of 155 Trademark: ©MMXVI Full Colour Black Ltd.(R) MEDICOM TOY 2016 CHINA(L) With original box

NT$ 150,000-200,000 HK$ 39,900-53,200 US$ 5,120-6,820

1010

1011

村上隆 (b.1962)

Takashi MURAKAMI

山口高 (b.1969)

怪怪與奇奇

KAIKAI & KIKI

守衛燈塔的家族

Family of the Lighthouse

Polystone 2018

油彩畫布 1998 簽名右下：T y 簽名畫背：山口高灯台守の家族 1998 52.8×45.2 cm (20.8×17.8 in.)

Keeper

寶麗石粉樹脂 2018 13×8×22.5 cm、13×8×19 cm (5.1×3.1×8.8 in.、5.1×3.1×7.4 in.) 註冊商標： COMPLEXCON © TM/KK （白色：左腳底部，粉色：右腳底部） MADE IN JAPAN （白色：右腳底部，粉色：左腳底部）附原包裝盒

Trademark: COMPLEXCON © TM/KK (White: L, Pink: R) MADE IN JAPAN (White: R, Pink: L)

Takashi YAMAGUCHI

Oil on canvas 1998 Signed lower right: T y Signed on the reverse: Yamaguchi Takashi Family of the Lighthouse Keeper in Japanese 1998.

With original box

NT$ 50,000-80,000 HK$ 13,300-21,300 US$ 1,710-2,730

NT$ 50,000-80,000 HK$ 13,300-21,300 US$ 1,710-2,730 1013

朱安．葛明尼拉 (b.1981) 二件一組 A：版畫限量100件 50×50 cm (19.7×19.7 in.)

Joan Cornellà Selfie Gun Print B：搪膠雕塑 9×8×21 cm (3.5×3.1×8.3 in.) 註冊商標： Joan Comellia x AllrightsReserved (左腳底部)

1012

奈良美智 (b.1959)

Yoshitomo NARA

Joan Cornellà

版畫AP版簽名下方：Death 2017 A/P 44.5×31.5 cm (17.5×12.4 in.)

Death NYC

Selfie Gun

Print A.P.

Multiple, vinyl

附藝術家親簽保證書

Attached certificate signed by artist

Signed lower: Death 2017 A/P

NT$ 40,000-65,000 HK$ 10,600-17,300 US$ 1,360-2,220

No reserve 4

1014

簡明 (b.1979)

James JEAN

JAMES JEAN × GOOD SMILE COMPANY × DISNEY 米奇 & 米妮 90週年紀念雕像

MICKEY MOUSE & MINNIE MOUSE 90TH ANNIVERSARY EDITION

樹脂金屬限量500件簽名底部：JAMES JEAN H:25 cm (9.8 in.) 附原作保證書附原包裝盒

Resin, Metal Edition of 500 Signed bottom: JAMES JEAN Attached original certificate With original box

NT$ 60,000-90,000 HK$ 16,000-23,900 US$ 2,050-3,070

1015

中田郁美 (b. 1982)

Ikumi NAKADA

章魚姐妹

Cloud Killers - Puku & Niko

寶麗石粉樹脂限量120件 20×12.5×13 cm (7.9×4.9×5.1 in.)

Polystone

附畫廊保證書

With original box

附原包裝盒

NT$ 50,000-70,000 HK$ 13,300-18,600 US$ 1,710-2,390

Edition of 120 With certificate of gallery

1016

小泉悟 (b. 1983)

Satoru KOIZUMI

空桶

Empty Bucket

樹脂 2019 限量230件 16×14×31 cm (6.3×5.5×12.2 in.)

Resin 2019

附APPortfolio開立之保證書

With original box

附原包裝盒

NT$ 55,000-70,000 HK$ 14,600-18,600 US$ 1,880-2,390

Edition of 230 Certificate issued by APPortfolio

1017

安迪·沃荷 (1928-1987)

Andy WARHOL

親簽維納斯版畫

Birth of Venus

海報印刷簽名左側：Andy Warhol 42.5×53.5 cm (16.7×21.1 in.)

Poster Signed left: Andy Warhol

NT$ 80,000-130,000 HK$ 21,300-34,600 US$ 2,730-4,430

1018

村上隆 (b.1962) 粘菌、原始的生命版畫 2017 限量300件 68×68 cm (26.8×26.8 in.)

Takashi MURAKAMI Myxomycete, Chaos: Primordial Life Print 2017 Edition of 300

NT$ 100,000-130,000 HK$ 26,600-34,600 US$ 3,410-4,430

1019

村上隆 (b.1962) 向法蘭西斯培根致敬版畫限量300件簽名右下：M 49.5×49.5 cm (19.5×19.5 in.)

Takashi MURAKAMI Homage to Francis Bacon Print Edition of 300 Signed lower right：M

NT$ 100,000-130,000 HK$ 26,600-34,600 US$ 3,410-4,430 6

1020

1021

奈良美智 (b.1959)

原書手繪塗鴉

原書手繪塗鴉 (致黒河内先生)

油性筆紙本簽名中下：な' 2005 19×12.5 cm (7.5×5 in.) 附原書： Little More出版社：《用小刀畫開》，東京， 1998。

Yoshitomo NARA

油性筆紙本 1999 簽名中下：な' 99 19×13 cm (7.5×1.2 in.) 附原書： Rockin’On Inc出版社：《ハードボイルド》，東京，1999。

Yoshitomo NARA

Original Manuscript

Original Manuscript(To

Marker pen on paper

Mr. Kurokawauchi)

Signed lower center: Na in

Marker pen on paper 1999

Japanese, and dated 2005.

Signed lower center: Na in

Attached Original Book:

Japanese, and dated 99.

Little More: Slash with a

Attached Original Book:

Knife, Tokyo, Japan, 1998.

Rockin'On Inc.: Hardboiled, Tokyo, Japan, 1999.

NT$ 100,000-160,000 HK$ 26,600-42,600 US$ 3,410-5,460

1023

奈良美智 (b.1959) 乘著款冬葉遊行膠版印刷 2019 限量1000版 (海報) 60.3×44.7 cm (23.7×17.6 in.)

Yoshitomo NARA Marching On A Butterbur Leaf Offset Lithograph 2019 Edition of 1000 ( poster )

1022

達米恩·赫斯特 (b.1965) Damien HIRST 赫斯特手繪塗鴉

Manuscript

油性筆紙本簽名：for Jane D.h.t 18×14 cm (7.1×5.5 in.)

Marker pen on paper Signed：for Jane D.h.t With certificate of gallery

附畫廊保證書

NT$ 50,000-120,000 HK$ 13,300-31,900 US$ 1,710-4,090 7

NT$ 55,000-90,000 HK$ 14,600-23,900 US$ 1,880-3,070

1024

巴勃羅．畢卡索 (1881-1973) 瑪麗-特雷斯瓦特肖像版畫簽名右下：Collection domaine Picasso 54×40.5 cm (21.3×15.9 in.) 附畢卡索基金會開立之保證書

Pablo PICASSO Portrait of Marie-Therese Walter Print Signed lower right: Collection domaine Picasso Certificate issued by Fundacion Picasso

NT$ 30,000-60,000 HK$ 8,000-16,000 US$ 1,020-2,050

1025

巴勃羅．畢卡索 (1881-1973) 亞維農的少女版畫簽名右下：Collection domaine Picasso 46.5×43 cm (18.3×16.9 in.) 附畢卡索基金會開立之保證書

Pablo PICASSO The Women of Avignon Print Signed lower right: Collection domaine Picasso Certificate issued by Fundacion Picasso

NT$ 30,000-60,000 HK$ 8,000-16,000 US$ 1,020-2,050

1026

沛優 (皮耶爾‧居禮福爾) (1928-1992) 《藍色小精靈》動畫拍攝用手繪賽璐珞原稿 +背景稿(十件一組) 顏料賽璐珞片水彩手繪背景紙 30×24 cm (11.8×9.5 in.)×3 34×24 cm (13.4×9.5 in.)×2 32.5×24 cm (12.8×9.5 in.) 31×25 cm (12.2×9.8 in.) 31.5×23 cm (12.4×9 in.) 30.5×24.5 cm (12×9.6 in.) 30.5×24 cm (12×9.5 in.)

PEYO(Pierre Culliford) “The Smurfs” Animation Shooting with Hand-Painted Celluloid Manuscript + Background(Set of 10) Anime Color on celluloid, watercolor on paper

NT$ 130,000-180,000 HK$ 34,600-47,900 US$ 4,430-6,140

1027

姚慶章 (1941-2000) 第一自然9215 油彩畫布 1992 60.5×50 cm (23.8×19.7 in.) 附藝術家親簽之畫廊保證書

C. J. YAO First Nature 9215 Oil on canvas 1992 Attached gallery certificate signed by artist

NT$ 50,000-100,000 HK$ 13,300-26,600 US$ 1,710-3,410

1028

朱德群 (1920-2014) 無題絲網印刷在鏡子上 2004 限量99件簽名右下：朱德群 CHU TEH CHUN. 04. 畫背簽名：朱德群 CHU TEH CHUN 62×39 cm (24.4×15.4 in.)

CHU Teh Chun Untitled Screen print on mirror 2004 Edition of 99 Signed on the lower right : Chu Teh Chun in Chinese, CHU TEH-CHUN. 04. Signed on the reverse: Chu Teh Chun in Chinese, CHU TEH CHUN

NT$ 100,000-160,000 HK$ 26,600-42,600 US$ 3,410-5,460

畫背簽名：朱德群 CHU THE CHUN 10

1029

LEE Shi Chi

李錫奇

李錫奇 (1938-2019) 遠古的記憶油彩畫布 1991 75×75 cm (29.5×29.5 in.) 附藝術家親簽之畫廊保證書

LEE Shi Chi A Remote Memory Oil on canvas 1991 Attached gallery certificate signed by artist

NT$ 160,000-300,000 HK$ 42,600-79,800 US$ 5,460-10,230

李錫奇於1938年出生於金門，1955年就讀台北師範學校藝術科，早期作品多使用木刻版畫描繪故鄉金門，刻劃遊子思鄉之情。1959年與楊英風、秦松、陳庭詩、江漢東等人創立「現代版畫會」，同時也追隨李仲生學習現代藝術，並於 1963年加入東方畫會。李錫奇被譽為「畫壇變調鳥」，形容其創作手法豐富多變，除木刻板畫的創作基礎之外，也大量吸收抽象繪畫與普普藝術等西方現代創作形式，同時結合自身對本土議題的關切，1960年代曾多次代表台灣參加國際藝術活動，深受各界矚目。一路勤奮拓展自己的創作風格，開發屬於自身的藝術特質。1973年在懷素《自敘帖》的啟發下，將書法元素加入創作，Lot 1029《遠古的記憶》便可見一斑，書法線條的筆觸，以及紅、黑、金的顏色運用形式，被大量的擴張、延展，線條符號的變異和律動，呈現獨特的東方現代風格。Lot 1030《記憶的傳說》使用漆畫技法，但李錫奇捨去打磨的步驟，保留堆疊過多的生漆，在急劇收縮後產生特殊的皺紋質感，呈現出一種歲月滄桑斑駁、蒼茫的古痕。李錫奇穿梭於傳統與現代之間，從台灣本土出發，經由學習、吸收、轉化造形，過程中探索民族本位卻不受其限制，進而和國際的當代藝術接軌，李錫奇為台灣現代藝術貢獻良多，人們將永遠記得他獨樹一幟的藝術變奏曲。 11

Lee Shi Chi was born in Kinmen, Taiwan in 1938, and enrolled at the Department of Arts within Provincial Taipei Normal College in 1955. Inspired by Huaisu's Autobiography in 1973, Lee added elements of calligraphy into creation as Lot 1029 A Remote Memory. Brushstrokes of Chinese calligraphy, color scheme of red, black and gold, a form is expanded as well as extended, transformation and rhythm of lines and symbols, all create an unique Eastern modern style. Lee used lacquer painting to create Lot 1030 A Legend of Memory, but Lee bypassed a step of grinding in order to keep stacking lacquer. After a contraction of lacquer, unique wrinkle and texture appeared on paper like ancient traces of the passing time. Lee shuttled constantly between traditions and modern, became a master at using traditional media to present a contemporary artistic vocabulary. Lee started his journey from Taiwan, searching for a race orientation attributed to him. Then Lee connected international modern art through continuous learning, absorbing and transforming. Lee Shi Chi contributed a lot to Taiwanese modern art, and will always be remembered for the way in which he has changed the modulation of his artistic songs over the years.

1030

李錫奇 (1938-2019) 記憶的傳說綜合媒材 1992 45×45 cm (17.7×17.7 in.) 附藝術家親簽之畫廊保證書

LEE Shi Chi A Legend of Memory Mixed media 1992 Attached gallery certificate signed by artist

NT$ 60,000-120,000 HK$ 16,000-31,900 US$ 2,050-4,090

1031

NT$ 100,000-160,000 HK$ 26,600-42,600 US$ 3,410-5,460

伍步雲

Wu Bu Yun

1032

伍步雲 (1905-2001)

Wu Bu Yun

市集

Flea Market

油彩畫布 1973 簽名左下：伍步雲 11 1973 64.4×80 cm (25.4×31.5 in.)

Oil on canvas 1973 Signed lower left：Wu Bu Yun in

NT$ 450,000-580,000 HK$ 119,700-154,300 US$ 15,350-19,780

Chinese 11 1973 Literature:

出版：甄雅堂：《伍步雲畫集》，（臺北市：1994年），封面，頁80-81。

(Taipei, Taiwan, 1994), cover, P.80-81

附畫廊保證書

With certificate of gallery

Gen Ya Tang Art Gallery, Wu Bu Yun

《伍步雲畫集》伍步雲自敘：「我生平作畫只有一個目的，就是希望看見我畫的人，一眼看去，就知道是中國人畫的；換句話說，就是想在我的作品上，表現出中國的民族風格來。我採用油彩，只不過作為一種表現的工具，我要利用它的豐富顏色來表達我心中的意向。」 Lot 1032《市集》伍步雲擅長描繪人群，筆觸如梵谷般狂放，以粗獷的筆觸來營造愉悅跳動的氛圍，色彩上以藍綠色調為主，溫暖的紅、橙、黃點綴其中，增加色彩層次，更顯豐富熱鬧，呈現市集的人聲鼎沸與滿滿活力。 13

According to Wu Bu Yun, “There is only one purpose of painting in my life; that is, I hope when people see my works, they know that they are painted by Chinese. In other words, I want to express Chinese ethnic style through my works. For me, oil painting is merely a tool for expression; I use its abundant colors to convey my heart.” Wu Bu Yun is good at depicting people as Lot 1032 Flea Market shows. Brushstrokes are wild like Van Gogh; Wu uses the unrefined brushstrokes to create a pleasant and joyful atmosphere. With a foundation of blues and greens, occasional warm colors like red, orange and yellow increase color layers and demonstrate a lively and vibrant market.

1033

伍步雲 (1905-2001)

Wu Bu Yun

有葡萄的靜物

Still Life

油彩畫布 1980 簽名左下：伍步雲 10/1980 45.5×55.9 cm (17.9×22 in.)

Oil on canvas 1980 Signed lower left： Wu Bu Yun in Chinese 10/1980 Literature:

出版：甄雅堂：《伍步雲的藝術》，（臺北市：1993 年），頁98。

Gen Ya Tang Art Gallery, Wu Bu Yun (Taipei, Taiwan, 1993), P.98 With certificate of gallery

附畫廊保證書

NT$ 150,000-220,000 HK$ 39,900-58,500 US$ 5,120-7,500

Lot 1033《有葡萄的靜物》畫面中心為紫色的葡萄，被互補色的黃色香蕉、蘋果、梨子圍繞，卻不顯突兀，伍步雲弱化晶瑩剔透的感覺，發揮油彩顏料的厚實質感，畫面色彩溫暖調和，與早期水果靜物畫比較起來，更增添了一些細膩與內斂。吳作人曾評伍步雲畫作：「美、動、清，美即色彩，炫麗而不庸俗；動即筆觸，活而有感情；清即層次分明。」在三者融合下，伍步雲熟練的使用油彩向世人展現他心目中最美的中國風景。 14

1034

NT$ 80,000-150,000 HK$ 21,300-39,900 US$ 2,730-5,120 1035

楊識宏 (b.1947) 輝煌的過去油彩畫布 1992 簽名右下：C.yang 92 畫背簽名：Chihung yang 1992 72.5×60.5 cm (28.5×23.8 in.) 附藝術家親簽之畫廊保證書

YANG Shi Hong Splendor of the Past Oil on canvas 1992 Signed lower right：C.yang 92. Signed on the reverse: Chihung yang 1992 Attached gallery certificate signed by artist

NT$ 140,000-260,000 HK$ 37,300-69,200 US$ 4,770-8,870

「片刻是單一孤立的，在茫茫冷漠時間中流逝的一角；然而在抒情上它是永恆的，至少藝術所提供的記憶是如此：楊識宏便是這樣在創作繪畫，通常以小樹枝或花朵的形式，既脆弱又完美的成長，記載這段在大自然中最重要又短暫的時刻。」美國藝評家唐納德．庫斯比

畫背簽名：Chihung yang 1992

“A moment – singular, isolated, a bit of passing time in the vast indifference – and yet, lyrically, it lasts forever, at least in the memory which art is: this is what Chihung Yang draws and paints, usually in the form of a sprig or flower, that fragile yet consummate growth, nature at its most vital yet transient. ” －Art Critics Donald Kuspit

蕭勤1955年底與多位藝術家成立東方畫會，以抽象繪畫為研究主題，後前往義大利發展，深受不定形藝術（ I n f o r m a l i s m ）、抽象表現主義（ A b s t r a c t Expressionism）藝術家的影響，察覺中國書法律動線條的重要性與特色，並藉此展開一系列的嘗試。六○年代中期，蕭勤對宇宙間恆常不變的哲理產生興趣，嘗試以簡約的顏色和圖案，捕捉宇宙的形態，表達東西文化深邃的哲思，敏銳地感受到時代心靈的脈動，反思創作媒材，進而放棄了擅長的油彩與表現性的顏料使用方式。Lot 1037 《往永久的花園之18》系列作品，色彩光鮮奪目，畫面中的寬大筆觸，流暢而大膽，櫛次鱗比的留白處產生光影效果，巧妙營造律動感，雖為實驗性質的創作階段，仍可察覺其中扎實的西方現代主義基礎。東西兩方相會於蕭勤的畫布上，在接觸老莊思想後，將中國的千年哲思進一步與西方藝術的現代概念交互結合。Lot 1036《天地之5》畫面恣意運轉流動，空白互補下取得均衡，並留下帶有對比性或調和性的造型表現，依照顏料的透明、不透明，空間的內外虛實，張力畢露。蕭勤已不同於早期東方藝術家對西方藝術的形式模仿，自創一格，積極探索物質與精神、瞬間與永恆、有限與無限，反思了繪畫媒介的根本，試圖重新發現現代繪畫的本質。更活躍於國際藝壇，先後參與發起1961年的「國際龐圖

Hsiao wanted to express the philosophy of Western and Eastern culture, and keenly feel the fetal movements of the generation. Bright and dazzling colors fill Lot 1037 To the Eternal Garden 18; broad strokes are smooth and bold; row upon row of white spaces produce a light and shadow effect and cleverly create movement. Although it was at an experimental stage, it contained solid foundation of Western modernism. Western met Eastern on Hsiao’s canvas. After learning Taoist and Zen thoughts, Hsiao combined Chinese millennial philosophy and Western modern art together. Paints flow freely and randomly in Lot 1036 World 5; the picture reaches a balance between blanks and leaves a contrasting or harmonious shapes. Simultaneously, the transparency and opacity of paints alternate the virtual and real world. Hsiao has been different from early Eastern artists’ imitation of Western art because Hsiao developed his own style. Hsiao actively explored material and spirit, moment and eternity, finite and infinite, and reflected the root of art materials in order to discover the essence of contemporary painting. Hsiao Chin has been awarded many times, Order of Brilliant Star with Grand Cordon by the president of Taiwan in 2016, and honorary doctorate by Tainan National University of the Arts in 2019. Hsiao created unique style in the field of abstraction art by his reserved and restrained oriental aesthetics, and won Western world attention and praises.

（Punto）藝術運動」、1977年的「國際太陽（Surya）運動」、1989年的「國際炁（Shakti）運動」。並曾多次獲得藝術界肯定，2016年獲總統府頒發二等景星勳章，2019年獲頒南藝大名譽博士。他以矜持內斂的東方美學思惟在抽象繪畫領域創造鮮明性格，並獲得西方藝壇的矚目與肯定。

蕭勤

HSIAO Chin

1036

蕭勤 (b.1935)

HSIAO Chin

天地之5

World 5

壓克力畫布 1990 53×65.5 cm (20.9×25.8 in.)

Acrylic on canvas 1990 Attached gallery certificate signed by artist

附藝術家親簽之畫廊保證書

NT$ 260,000-350,000 HK$ 69,200-93,100 US$ 8,870-11,940

1037

蕭勤 (b.1935)

HSIAO Chin

往永久的花園之18

To the Eternal Garden 18

壓克力畫布 1992 74×64 cm (29.1×25.2 in.)

Acrylic on canvas 1992 Attached gallery certificate signed by artist

附藝術家親簽之畫廊保證書

NT$ 450,000-600,000 HK$ 119,700-159,700 US$ 15,350-20,460

楊三郎

Yang San Lang

「如何把大自然轉化為一幅畫，我做了六十多年的功夫……唯有直接面對自然，才能感受人我與天際間的合一，才是最純粹、動人的自然容顏！」－楊三郎楊三郎出生於臺北永和。1923年赴日留學，先進入京都工藝學校，後轉關西美術學院西洋畫科，接受嚴格的學院派訓練。1927年與陳澄波、陳植棋、廖繼春等十三人共組「赤島社」，1928 年返台，1929年獲臺灣美術展覽會特選第一名，之後於1931赴法國留學，次年作品《塞納河畔》入選法國秋季沙龍，回台後成為專職畫家，並開始積極推動各項美術活動。1934年與陳澄波、廖繼春、顏水龍、李梅樹、李石樵等人成立「台陽美術協會」。光復後籌辦「全省美展」全力參與並展出，奠定其畫壇地位，1986年獲得國家文藝獎的殊榮。1985年台陽展與春陽會於史博館合辦「中日美術展」，1989年台北市立美術館舉辦回顧展，1991年楊三郎美術館正式開幕，1992年獲頒行政院文化獎卓越藝術家獎章。

克洛德．莫內Claude Monet 《芒通附近的紅色路》 1884 油彩畫布 66.1×82 cm

“How to transform the nature into a painting, I have spent more than sixty years working…Only through facing the nature directly could people feel the unity of human and nature. That is the purest and the most toughing appearance of the nature.” -Yang San-Lang Yang San-Lang was born in Yonghe, Taipei, Taiwan. He went to Japan to learn painting in 1923, first entered Kyoto Prefectural School of Painting, then transferred to the Western Painting Program at Kansai Art Academy, and accepted strict training. In 1927, Yang founded the “Red Island Association” with other 13 artists, including Chen Cheng-Po, Chen Chih-Chi, and Liao Chi-Chun. Yang returned Taiwan in 1928. Yang’s Still Life won Excellent Award at Taiwan Fine Art Exhibition in 1929, and went to France for further studies in 1931. Next year, Seine River was selected by The Autumn Salon in Paris, and then Yang returned Taiwan as a professional painter and actively promoted artistic activities. Yang cofounded the “Tai Yang Fine Arts Association” with Chen Cheng-Po, Liao Chi-Chun, Yen Shui-Long, Li Mei-Shu and Li Shih-Chiao in 1934. After Taiwan restoration, Yang organized the 1st Taiwan Provincial Art Exhibition and gave him a high status among Taiwanese art, and received the 11th National Cultural Award of Outstanding Contribution in Art in 1986. Chinese and Japanese Art Exhibition at National Museum of History in 1985, Retrospective Exhibition of Yang San-Lang at Taipei Fine Arts Museum in 1989, Yang San-Lang Art Museum opened in 1991, received Cultural Medal by the Executive Yuan of Taiwan in 1992.

楊三郎對構圖、造形、色彩要求嚴謹，出於當年所受日本學院注重寫實技巧的「外光派」訓練，往後創作發展中，尤其受柯洛（JeanBaptiste Camille Corot, 1796-1875）和莫內（Claude Monet, 1840-1926）兩人影響，柯洛的風景中充滿大量的詩意，羽毛般的膨鬆感，畫面構圖單純，光線明亮自然。楊三郎以此自然主義為基礎出發，他強調為了孕育自我對蒼穹的情意和感知，需要實地置身於大自然中，彼此不斷產生當下相互的交流和感觸，藉由這種實際的體驗，方能掌握大自然變化萬千的可能性。 Lot 1039《春暖》遠方皚皚的雪景，正靜靜地消融，前景的山谷草坡，也在初春的氣息中向上伸展綠色的枝枒。楊三郎細膩的構圖使前後景的自然景象互動起來，前景的暖意與後方的寒色，產生對比性的色彩對話，寫意的筆觸，舒爽的色調，描繪春天豐富而生機盎然的樣貌，在山谷間奏起春日樂章。楊三郎的畫以豪放粗獷的筆觸著稱，看似澎湃氣勢的筆法，卻也能繪出平淡靜謐的氛圍，Lot 1038《花》為少數以描寫花卉為主題的作品。畫面色彩豐富、技法純熟，玫瑰由紅粉色調相互堆疊，與綠葉形成強烈對比，背景以藍黑色調處理，再以暖黃色系增添背景的亮面，使整張畫層次分明，呈現出寧靜典雅的氣氛。楊三郎作為台灣的藝術推動者，作品題材以台灣景色為主，記錄這塊土地的歷史與歲月。 1995年時，獲頒總統褒揚令與華夏一等獎章。

Yang was strict on composition, shape and color based on training he received at Japanese Academy which concentrated on outdoor training and realistic skills. In development of creation, Yang was influenced strongly by Jean-Baptiste Camille Corot (1796-1875) and Claude Monet (1840-1926). Corot’s scenery paintings were richly poetic through fluffy texture, clear composition and bright natural lights. Based on naturalism, Yang emphasizes the necessity of surrounded by nature to cultivate feelings and perception of the world. With constantly mutual communication and feelings, people could depict unlimited possibilities of nature through practical experience. Lot 1039 Warm Spring indicates that the far away snow is melting quietly; the front mountain slopes also push green branches toward the sky in a ray of spring light. Yang’s delicate composition let the front and back scenes interact with each other; warmth of the foreground and coldness of the background process a contrary color conversation. Poetic brushstrokes and fresh colors depict a vibrant spring, and play the rhythm of spring in the valley. Yang is known for bold and wild brushstrokes; however, Yang could paint a subtle and quiet atmosphere with strong brushstrokes, and Lot 1038 Flower is one of few Yang’s flower paintings. The picture is rich in color and skillful, reds and pinks pile up roses, form a strong contrast with green leaves, blues and blacks cover the background and warm yellows highlight the bright side. The work is layered and conveys serene and elegant atmosphere. Yang San-Lang as an art promoter in Taiwan mainly chose Taiwan scenery as the theme to record the history and years of this island. Yang received First Degree Huahsia Award by Presidential Order in 1995.

1038

楊三郎 (1907-1995) 花油彩畫布 1992 簽名左下：s.yang 53×45.5 cm (20.9×17.9 in.) 附藝術家親簽之畫廊保證書

YANG San Lang Flower Oil on canvas 1992 Signed lower left：s.yang Attached gallery certificate signed by artist

NT$ 550,000-650,000 HK$ 146,400-173,000 US$ 18,760-22,170

1039

楊三郎 (1907-1995) 春暖油彩畫布 1992 簽名左下：s.yang 45.5×53 cm (17.9×20.9 in.) 附藝術家親簽之畫廊保證書

YANG San Lang Warm Spring Oil on canvas 1992 Signed lower left：s.yang Attached gallery certificate signed by artist

NT$ 450,000-500,000 HK$ 119,700-133,000 US$ 15,350-17,050

1040

張義雄 (1941-2016)

Chang Yi Hsiung

1990年間，張義雄與妻子定居於巴黎蒙馬

風景

Landscape

特，不同於早期黑線條勾勒輪廓的強烈風格，

油彩畫布 1991 簽名左下：91 Chang.Y. 33×45.5 cm (13×17.9 in.)

Oil on canvas 1991

在法國時期心情開闊，身心都感到放鬆，心境自然愉快的流露於畫作。廖德政曾形容「在紀

Signed lower left：91 Chang.Y.

元畫會會員中，張義雄是與洪瑞麟、張萬傳同 Attached gallery certificate

附藝術家親簽之畫廊保證書藝術家與作品合照

signed by artist Artist with artwork

NT$ 240,000-350,000 HK$ 63,900-93,100 US$ 8,190-11,940

屬偏向感性的表現。」拍品呈現張義雄自然率性的構圖，用色上，青翠的綠色搭配淡粉，使人感到春日粉嫩的氣息。

1041

張義雄 (1941-2016)

Chang Yi Hsiung

2003年，因妻子逝世，張義雄回到

日本阿爾卑斯山

Hakuba Sanzan

日本與子女居住，畫作取景日本的白

油彩畫布 2006 簽名右下：06. ChaNg.Y. 45.5×60.5 cm (17.9×23.8 in.)

Oil on canvas 2006

馬三山，山脈綿綿相連，雄偉壯觀。

Signed lower right：06 ChaNg.Y.

構圖單純、簡潔，清明、白亮透徹的用色，顯見藝術家晚年歷練過後的風

Attached gallery certificate signed by artist 附藝術家親簽之畫廊保證書藝術家與作品合照

格，由樸茂轉為成熟、內斂。

Artist with artwork

NT$ 350,000-420,000 HK$ 93,100-111,800 US$ 11,940-14,320

龐均

PANG Jiun

「那時對於大陸的大山大水的觀察，我就覺得必須是灰調子，因為這也體驗了在中國詩詞裡的韻味與飄渺，以及中國人所隱藏收斂深沉的情感，這都是同一個精神性。」- 龐均龐均1936年生於中國上海，父親龐薰琹與母親丘堤皆為知名藝術家，從小受家庭環境薰陶，自然對於藝術有一份由衷的執著。1949年考入杭州美術學院，1952年轉入北京中央美術學院，師承徐悲鴻、李可染等人，自此投身於藝術追求不遺餘力，至今未歇，展現了極爲豐沛的創作能量。龐均粹取中西藝術之精髓，受印象派後期和野獸派的影響，展現出西洋畫的熱情及爆發力。另一方面，結合中國人文藝術哲學，蘊含東方文人畫的詩情畫意，東西融合展現出獨特的意境及畫品。龐均的畫以自由灑脫的筆觸和寫意風格著稱，他在古典和現代中尋找共通點，也試圖結合中國水墨和西方油彩的中心思想精神，保留了油畫語言的特性，也融入了中國傳統繪畫的寫意，因此創新了自我繪畫主體的領域。1987後定居台灣，任教於國立台灣藝術大學逾二十年，並先後於國立國父紀念館、國立歷史博物館、中國美術館、東京上野之森美術館舉辦重要個展，對華人藝術界貢獻良多，有著舉足輕重的地位。龐均曾強調：「寫生在於寫其生，寫自然界活生生的『生命力』！」Lot 1042《長青樹》完美應證他的信念，綠意盎然的樹葉，粗實有力的枝幹，蔥蘢葳蕤的葉片，充盈整張畫面，自然的黃綠色描摩出原始的生命樣態，背景塗抹上灰白色調，彷彿透出一點光線，增添寫意古雅的質感。畫中更罕見的採用近景描繪自然賦色，枝葉更顯茂密厚實，儘管只描繪了樹幹的末梢，生機勃勃的樣貌，不難使觀者聯想全景的高大挺拔，古樸的色調和筆法，呈現長青樹自然本真的生命力。

“To my observation, the grand mountains and deep waters of china are definitely to be portrayed in grey and the grey, consonant with the sentiment and ethereality of Chinese poetry and the reserved style of Chinese people, reveals the spirituality of Chinese culture.” Pang Jiun was born in Shanghai, China in 1936. His father Pang Xun Qin and mother Qiu Ti are both famous artists, so Pang was influenced by the family and naturally has a sincere dedication to art. He was admitted to China Academy of Art in 1949, and then transferred to Central Academy of Fine Arts in 1952. Under the tutelage of Xu Bei Hong, Li Ko Jan and others, he has devoted himself to the pursuit of art and spared no effort since then. Pang has not stopped so far and showed a very abundant creative energy. Pang extracts the essence of Chinese and Western art, is influenced by the later Impressionism and Fauvism, and shows enthusiasm and explosive power of Western paintings. On the other hand, Pang combines Chinese artistic philosophy, it contains the poetic and artistic meaning of Oriental literati painting, and the integration of East and West shows a unique artistic conception and painting. Pang’s paintings are known for his free and easy brushstrokes and style. He finds common ground between classic and modern. He also tries to combine the central ideology of Chinese ink and western oil painting. Pang retains the characteristics of oil painting and incorporates brushworks of traditional Chinese painting, so he creates his own painting field. After 1987, he settled in Taiwan and taught at the National Taiwan University of the Arts for more than 20 years. He has held important solo exhibitions in the National Sun Yat-sen Memorial Hall, National Museum of History, National Art Museum of China, and Ueno No Mori Art Museum in Tokyo. He has made a lot of contributions to the Chinese art and is of decisive importance. Pang once emphasized "Sketching is to draw its life, to describe the ‘vitality’ of nature!" This work perfectly proves his belief. Green leaves, thick and powerful branches, verdant leaves fill the whole picture. Natural yellow-green restores the original life; the background is painted in gray white tones as to let light in; it adds poetic quaint texture. Lot 1042 Evergreen is rare to depict natural scenery with close-up, branches and leaves become more dense and thick. Although it only depicts the end of the trunk, the vibrant look leads viewers to imagine the tall and straight panorama.

1042

龐均 (b.1936)

PANG Jiun

長青樹

Evergreen

油彩畫布 2010 簽名右下：龐均 2010 手繪鈐印：均 60.5×72.5 cm (23.8×28.5 in.)

Oil on canvas 2010 Signed lower right: named Pang Jiun in Chinese and dated 2010, with one painted seal of the artist Provenance:

來源：現收藏者購自藝術家展覽附畫廊保證書

Present collector bought it from artist's exhibition With certificate of gallery

NT$ 700,000-850,000 HK$ 186,300-226,200 US$ 23,870-28,990

1043

龐均 (b.1936) 淡水園林油彩畫布 2004 簽名左下：龐均 2004 手繪鈐印：均畫背簽名：龐 60.5×50 cm (23.8×19.69 in.) 來源：現收藏者購自藝術家展覽附畫廊保證書

PANG Jiun Tansui Garden Oil on canvas 2004 Signed lower left: named Pang Jiun in Chinese and dated 2004, with one painted seal of the artist Provenance: Present collector bought it from artist's exhibition With certificate of gallery

NT$ 350,000-500,000 HK$ 93,100-133,000 US$ 11,940-17,050

畫背簽名：龐灰色調的顏色是屬於龐均的，灰灰濛濛的天空正是多雨的淡水。龐均的筆法流暢、用色熟練，清新、俐落、浪漫、多元，舉凡是日常一景，都可用他獨到的畫風呈現。淡水的河岸一隅，樹木恣意生長，躺椅隨意擺放，小鳥佇足路燈，簡單平凡的景象在龐均筆下顯得瀟灑脫俗。左下角特殊的書法體簽名與自創的手繪印章式落款，更增添東方文人氣息，整體濃淡勻淨、氣韵雅致。

Gray colors belong to Pang Jiun; the cloudy sky belongs to rainy Tamsui. Pang's brushworks are smooth; he is skillful in color, fresh, neat, romantic and diverse, an everyday scene can be presented in his unique style. A corner of the bank of Tamsui, trees grow arbitrarily, recliners are placed at will, a bird stands on the street light, and the simple and ordinary scene is chic and refined in Pang's painting. Special calligraphy signature and self-made seal signature in the lower left corner add oriental flavors. The work exquisitely shows the refined and harmonious artistic conception. 28

王攀元

WANG Pan Youn

「春盡花已老，情郎不須歸，白雲飛孤雁鳴，我欲乘風歸去，不勝寒。英雄名馬，君臨毛舍，來自何方，出身名門，無父無母，來自西方，日落東方」－王攀元王攀元常說「畫格即人格」，充斥著孤獨氛圍的畫作，正是他寂寥一生的真實寫照。王攀元生於1909年，出身江蘇世家，然而父親早逝，龐大家產的爭奪戰剝奪了他本該純真無憂的孩提時代，與母親同在大家庭的漠視和排擠中苦渡，母子二人相依為命，然而於1924年王攀元十三歲時母親不幸辭世，往後的日子裡，王攀元獨自一人在大家族中抗爭生存，對母親的思念從未停止。母親身故後，王攀元的求學歷程更是頻頻受阻。儘管王攀元成功考取江蘇名校淮安中學，長輩卻命他放棄並拒絕支付學費，最後在家中佃農的協助之下，才得以離家就學。後於1933年考取上海美專西畫科，家中同樣反對，在恩師吳茀之的幫助下減免學費，得以入學。王攀元於上海美專就學期間，在蔡元培校董與劉海粟校長的帶領下，校風頗為開放，王攀元擅長水墨、水彩、油畫等媒材，師承張弦、陳人浩、潘天壽、王濟遠、潘玉良等名師，同時開始將國畫的意境融入西畫的創作中。美專畢業後，王攀元原定隨潘玉良老師赴法國留學，然而回家鄉籌措學費未果，且中日戰爭與國共內戰相繼爆發，於1949年隨國民政府來台，1952年在宜蘭羅東中學擔任美術老師，自此定居宜蘭，一生創作不輟。王攀元從此未回訪家鄉，多雨的蘭陽平原繾綣著他揮不去的鄉愁，王攀元思鄉之時，腦海裡便浮現一幕幕的江蘇美景，老家四季如畫的景色早已融進骨子裡，桃紅煙柳，山光水色，故王攀元喜愛描繪自然景色，也在晚年以多幅畫作紀錄風景怡人的宜蘭山水。

Wang Pan Youn always said “the traits of painting itself are personality”, which is full of hollowness which is exactly about his whole life. He was born in 1909 in Jiangsu noble, whereas his father died early which deprive his purity and innocent childhood. Lived with his mother in an enormous family, being neglected and pushed out; however, in 1924, when Wang was thirteen years old, his mother passed away. In the following days, Wang was alone and struggled to survive, and never stopped thinking of his mother. After the death of his mother, Wang's education was frequently hindered. Although Wang successfully got admission of Huaian Middle School, the elders asked him to give up and refuse to pay the tuition. Eventually, with the help of the tenant farmers, he was able to leave home and study. In 1933, Wang was admitted to the Western Painting Department of Shanghai Academy of Fine Arts, but his family opposed it. With the help of his teacher, Wu Fu Zhi, he was able to enroll with a tuition fee reduction. During Wang’s studies in Shanghai Art College, under the leadership of Cai Yuan Pei and Liu Hai Su, school spirit is quite open; Wang was good at ink, watercolor, oil painting and taught by famous teachers such as Zhang Xian, Chen Ren Hao, Pan Tian Shou, Wang Ji Yuan, and Pan Yu Liang, meanwhile, Wang began to integrate the artistic conception of Chinese painting into the creation of Western painting. After graduating, Wang Pan Yuan was originally scheduled to study in France with Pan Yu Liang, but he failed to raise tuition back home. Besides, Sino-Japanese War broke out, so Wang came to Taiwan with the Nationalist Government in 1949, and then he worked as an art teacher at Yilan Luodong Middle School in 1952. Since then, Wang had settled in Yilan and had created art all his life.

顛沛流離的一生賦予王攀元作品獨特的氣質，它是複雜而矛盾的，乍看以為是寂寥沉靜的孤獨美學，同時間卻又翻滾著濃烈的情感，這股熱情被平和簡約的構圖掩蓋住了，但待細細品味，卻能使觀者切身感受到，每幅畫作都是王攀元對過往的想念，對人生的醒悟，對藝術的無止境追求。對於王攀元的孤獨美學，國立歷史博物館館長廖新田曾形容「這是一種都會人的孤獨感所導致的共鳴，我們在都市裡，卻感覺被都市拋棄，所以他能打動現代人的心。」王攀元在2001年獲得國家文藝獎肯定「在當今眾聲喧嘩的時代，始終自我觀照，以細膩深邃的情感詮釋簡潔的主題，在台灣特定的時空下，呈現出獨特精煉的風格。」，王攀元將其一生開展於畫布上的天地，其生命承受的深沉與孤寂，沉澱為畫筆之濃彩。

Wang had never returned to his hometown since then, and Wang’s homesickness lingered on rainy Lan Yang Plain. When Wang missed his hometown, scenes of Jiangsu scenery appeared in his mind. The picturesque scenery of his hometown has already melted in his bones, pink blossoms and willows, mountains and waters, Wang loves to depict natural scenery, and in his later years he also recorded the pleasant landscape of Yilan with many paintings.The life of drifting and wandering gave Wang’s works a unique temperament which is complicated and contradictory. At first glance, it seems to be a lonely and quiet aesthetics of loneliness. At the same time, it is full of strong emotions, and his passion was concealed by the peaceful and simple composition. After a careful taste, viewers could feel that each painting is Wang's miss of the past, his awakening of life, and his endless pursuit of art. For Wang Pan Youn's lonely aesthetics, Liao Xin Tian, director of the National Museum of History, once described Wang’s paintings, “This is a resonance caused by the loneliness of a metropolis, we are in the city, but we feel abandoned by the city. That’s why he can touch the hearts of modern people.” Wang won National Literary Award in 2001, “In an era of noisy voices, he always observes himself, interprets simple themes with delicate and deep emotions, and presents a unique and refined style under the specific time and space of Taiwan.” Wang Pan Youn developed his life in the world of canvas, and the deepness and loneliness he endured in his life settled into the intense color of the brush.

1044

王攀元 (1912-2017)

WANG Pan Youn

桃花源詩意

Poetic Tao Fa Yuan

紙本水墨鏡框鈐印：王攀元（白文） 48×28.5 cm (18.9×11.2 in.)

Ink on paper

檢附購買證明

With proof of purchase

NT$ 60,000-100,000 HK$ 16,000-26,600 US$ 2,050-3,410

遠山枯枝以白描手法，用最簡練的筆墨，不加烘托，描繪出鮮明生動的靜美意境。

1045

王攀元 (1912-2017) 層巒疊嶂紙本水墨立軸鈐印：王攀元（白文） 34.5×53.5 cm (13.5×21 in.) 檢附購買證明

1046

王攀元 (1912-2017) 南山養志紙本水墨立軸鈐印：王后（白文） 40.5×30.5 cm (15.9×12 in.)

WANG Pan Youn Mountain Layers Ink on paper With proof of purchase

NT$ 60,000-120,000 HK$ 16,000-31,900 US$ 2,050-4,090

WANG Pan Youn Cultivate Noble Mind at Nanshan Ink on paper With proof of purchase

檢附購買證明

NT$ 35,000-80,000 HK$ 9,300-21,300 US$ 1,190-2,730

1047

王攀元 (1912-2017) 風雨盼君來紙本水墨立軸鈐印：王攀元（白文） 45.5×35 cm (17.9×13.7 in.) 檢附購買證明

WANG Pan Youn Looking Forward to Your Coming Ink on paper With proof of purchase

NT$ 50,000-150,000 HK$ 13,300-39,900 US$ 1,710-5,120 難得以水墨表現人物，痀僂的身影表達了對故土的懷念和對逝去的生命的追憶，一人幽謐沉思立於大地，渺小而微不足道，頗有遺世獨立之感，筆觸自然隨意，墨色輕拂作背景，蕭條淡泊的氛圍，寄託了王攀元的心境與醒悟。

1048

王攀元 (1912-2017) 雲淡樹蔥蘢水彩紙畫背鈐印：王攀元印 (朱文) 20×19.2 cm (7.9×7.6 in.) 檢附購買證明

WANG Pan Youn Pale Cloud and Verdure Trees Watercolor on paper Signed: with one seal of the artist. With proof of purchase

NT$ 130,000-180,000 HK$ 34,600-47,900 US$ 4,430-6,140

畫背鈐印 32

1049

1050

王攀元 (1912-2017)

WANG Pan Youn

王攀元 (1912-2017)

WANG Pan Youn

氤氳如雲

Steaming Mist

真誠

Sincere

紙本水墨立軸鈐印：王攀元（白文） 45×45.5 cm (17.7×17.9 in.)

Ink on paper

瓦當紋紙墨書鏡框釋文：真誠鈐印：王攀元（白文） 51×22 cm (20×8.6 in.)

Ink on paper

檢附購買證明

NT$ 60,000-90,000 HK$ 16,000-23,900 US$ 2,050-3,070

With proof of purchase

檢附購買證明

1051

王攀元 (1912-2017) 泊舟起航紙本水墨鏡框鈐印：攀元書畫（白文） 64×53 cm (25.2×20.9 in.) 檢附購買證明

With proof of purchase

NT$ 30,000-60,000 HK$ 8,000-16,000 US$ 1,020-2,050

WANG Pan Youn Sailing Ink on paper With proof of purchase

NT$ 50,000-120,000 HK$ 13,300-31,900 US$ 1,710-4,090

風格樸實無華，娓娓道來內心風景，畫面下方描繪著山叢草，沿岸泊一待發小舟，上方大面積的留白、水面無垠上接天際，小舟撐起桅桿、恰似載滿了信心航向未知的遠方。用筆信手拈來，筆觸不急不徐，感通晚清書畫家蒲華(18321911)筆墨之拙韻，遙喚法國畫家莫內(1840-1926)日出印象之神采。水墨用色濃淡乾枯隨心所欲而不凝滯，土坡乾皴橫列、樹叢潤寫雜然，墨象參差、墨韻自華，筆筆真情、無見斟酌巧設，似乎可聽見歷經風霜的老人以誠懇的筆墨寫下心中無盡低喃的話語。 33

1052

王攀元 (1912-2017) 山水行舟扇面水墨鏡框鈐印：王后（白文） 63×21.5 cm (24.8×8.4 in.) 檢附購買證明

WANG Pan Youn Sailing between Mountains Ink on paper With proof of purchase

NT$ 30,000-60,000 HK$ 8,000-16,000 US$ 1,020-2,050

此件簡約灑脫之作來自畫家王攀元心之所託，沉鬱的筆觸表現曠達胸襟，觀其畫令人憶起昔日蘇軾謫貶黃州於赤壁懷古之感慨!起筆濃墨暈漬層層疊疊，堆起了心中的遠山疊嶂，乍濃還淡，遙遠輕渺的土丘已在畫面右方；高山霧靄，平坡輕舟，畫家一筆完成、一氣呵成，彷彿一吐心中之逸氣，畫出了李白輕舟已過萬重山之俠氣。小舟靜泊居畫面右下角，是舟上旅客尚在休憩停泊或是搖櫓待發？彷彿令觀者感受到欲邀舟中人同遊之樂。作品風格承襲梁楷、八大減筆一脈，破墨法呈現出山川雲煙之靈氣，用筆以簡馭多表現著天地山水之廣袤，並與畫家氣宇寬博相應。

1053

王攀元 (1912-2017) 日出水彩紙簽名右下：WANG. P.Y. 鈐印：王攀元印（朱文） 18.3×18.5 cm (7.2×7.3 in.) 著錄：《2016宜蘭縣美術學會會員展》作品集封面

王攀元作畫即景

檢附購買證明

WANG Pan Youn The Rising Sun Watercolor on paper Signed lower right: WANG. P.Y., with

《2016宜蘭縣美術學會

one seal of the artist

會員展》作品集封面

Literature: 2016 Art Society of Yilan Exhibition Album Cover With proof of purchase

NT$ 150,000-320,000 HK$ 39,900-85,200 US$ 5,120-10,910

王攀元曾在日記中寫道「我每次去台北歸來時，在車窗中遙望著那孤立在海洋中(的)龜山島，我就預知道又回到第二故鄉宜蘭的家了。」顯然宜蘭已成為王攀元的第二個家，他筆下的宜蘭山水最為動人，此作更是以極限至精簡的構圖，鮮明地烘托出紅日的意象，此作也被選為《2016宜蘭縣美術學會會員展》作品集的封面，濃與淡相互堆疊出暮色日出，一抹紅日悄然浮現海平面，在回憶與現實的交錯裡，沉潛成欲語還休的美景。 34

1054

王攀元 (1912-2017) 黃昏後水彩紙簽名右下：P.Y.WANG. 畫背簽名：王攀元 1996 9月 19日畫背鈐印：王攀元（白文） 38×53 cm (15×20.9 in.)

After Dusk Watercolor on paper Signed lower right: P.Y WANG Signed on the reverse: Wang Pan Youn in Chinese, 1996, Sep. 19 in Chinese with one seal of the artist. With proof of purchase

NT$ 380,000-560,000 HK$ 101,100-149,000 US$ 12,960-19,100

檢附購買證明

畫作背面簽名與鈐印 35

WANG Pan Youn

畫面平靜、和諧，沒有過多傳統的光影渲染，而是透過飽和鮮豔的色彩構建如詩如畫的秋日風景，使觀者感受到秋風徐徐與溫暖的夕陽。在一片秋意中，紅葉錯落，背景中飽和的橘黃色天空與樹林相互呼應，展現出王攀元對色彩細緻敏銳的把握，宛如置身夕陽秋色之中。

本「灑金箔黃色宣」為王攀元於民國七十年（1980年）前後，透過香港筆墨莊向大陸「蘇州桃花塢扇店」購買，當時每張購入價為二百元港幣，作價十分高昂，十張即約莫當時台灣大學生一個月薪給。王攀元特別告知收藏者宜珍視之。

1055

王攀元 (1912-2017)

WANG Pan Youn

蘭陽地真

Calligraphy

灑金箔黃色宣墨書鏡框釋文：蘭陽地真款文：王后寫鈐印：王后（白文） 63×21.5 cm (24.8×8.4 in.)

Ink on paper

檢附購買證明

With proof of purchase

NT$ 25,000-60,000 HK$ 6,700-16,000 US$ 850-2,050

1057 1056

王攀元 (1912-2017)

王攀元 (1912-2017) 翰墨情長

紙本水墨立軸鈐印：王攀元（白文） 44.1×41 cm (17.3×16.1 in.)

紙本墨書鏡框釋文：翰墨情長款文：王后鈐印：王后（白文） 85×32.5 cm (33.4×12.7 in.)

檢附購買證明

WANG Pan Youn

Silent Forest

Calligraphy

Ink on paper

With proof of purchase

NT$ 60,000-120,000 HK$ 16,000-31,900 US$ 2,050-4,090

NT$ 30,000-60,000 HK$ 8,000-16,000 US$ 1,020-2,050

山林清幽

孤寂靜美老人王攀元先生，靈感乍現，渾然天成數筆完成「一圓相」水墨意境畫，狹義而言是日出之圓，象徵日出時分，自然萬物生機蓬發之始也；廣義而言是「一圓相」，乃包含天地間之萬事萬物，由圓滿而圓通無礙。如佛法公案，釋迦摩尼佛說法，旁之文殊菩薩「噹」一聲響起而「說法竟」。此中有真意，留與有志之士，再三咀嚼其真理。 1058

1059

王攀元 (1912-2017)

WANG Pan Youn

王攀元 (1912-2017)

WANG Pan Youn

幽處山林

Sequestered Woods

一圓相

Circle

紙本水墨鏡框鈐印：王后（白文） 69×33 cm (27.1×12.9 in.)

Ink on paper

紙本水墨立軸鈐印：王攀元（白文） 86×48 cm (33.8×18.9 in.)

Ink on paper

檢附購買證明

NT$ 80,000-120,000 HK$ 21,300-31,900 US$ 2,730-4,090

檢附購買證明

NT$ 80,000-150,000 HK$ 21,300-39,900 US$ 2,730-5,120

With proof of purchase

1060

王攀元 (1912-2017) 壁立千仞紙本水墨鏡框鈐印：王攀元（白文） 36×35 cm (14.2×13.8 in.) 檢附購買證明

WANG Pan Youn Steep Rock Face Ink on paper With proof of purchase

NT$ 50,000-100,000 HK$ 13,300-26,600 US$ 1,710-3,410 37

With proof of purchase

Lot 1061

隨記憶塵封的嚎啕聲沉澱怨與恨

時代一旦瘋狂到面目猙獰

沉著或許是福份

生不逢時也只能身不由己

沉淪變幻的愛的浮生

人被命運連根拔起

看淡了絕望才不濃無奈才不痛

再隨手散成飄萍或浮雲

敢親吻下一陣風起和雲湧

靜好歲月過成了顛沛流離

能幸福一分鐘甚至一秒鐘

好女好男哪還有選擇餘地

就快幸福吧趁還能抱緊未亡的夢

一個個生命被扭曲

看淡了才不再奢求才迎向自由

變成了酸楚的傳奇

肯接受只有無形的能不朽

《天上的男人地上的女人》

用眼裡的空洞去無視沉重

–《一把青》片頭曲

歲月不倒流就讓淚倒流醃漬離愁《看淡》–《一把青》片頭曲

每一張畫，都有一首對應的歌。不必然是同時代的創作；但描述的背景，一定具有著千絲萬縷的繫聯！每當佇立在王攀元的畫前，便有「像一陣風起和雲湧」的悸動，砰然而發。心中的旋律，盡是公視文學大戲《一把青》片頭與插曲的「隨記憶塵封的嚎啕聲……看淡了絕望才不濃，無奈才不痛…… 」高低起伏，時不時的刻劃在於心間，更映襯在王攀元的畫作上。從1937到1945年八年抗戰，再到1949年

國府來台，大江大海的時代，牽繫著您我，或深或遠的影響著。《一把青》裡的男女主角郭軫、朱青，便是受時代的牽制，無法遂行「執手偕老」之願，他們所處的時代與故事，和王攀元、季竹君相當且類同。或許是命限的桎梏，時代完美的演繹了這兩對戀人的缺憾式愛情故事，使後人看來，一唱三嘆而玩味無窮。如果！如果白先勇在寫作《台北人》時，知道王攀元、季竹君的情愛分深，王、季的故事或許便能如古人信誓般「無絕衰」的傳誦。 38

1933年後王攀元在上海美專就學，開始將國畫的意境融入西畫創作中。也在此期間，與摯愛季竹君相識相戀。王攀元與季竹君的相識許是命中注定，當年王攀元為籌措學費而不幸受凍罹患傷寒，家人接獲電報卻視若無睹，獨留他一人臥在病床奄奄一息，此時到醫院探病的季竹君偶然聽聞王攀元的遭遇，心地善良的她，自願留下照顧素昧平生的王攀元。傷寒症是嚴重的傳染病，季竹君賭上自己的性命照料王攀元，對於纏綿病榻的王攀元可謂奇蹟，在康復後兩人陷入熱戀，畢業之際更是相約隨潘玉良遠赴法國求學，然而造化弄人，王攀元暫別季竹君回家鄉籌錢，一別便是一生，兩人的緣分在戰爭下煙飛灰滅。王攀元晚年時常想起這段往事，曾在札記中寫下：「季，你是否仍在人間，做夢相見吧！」穿著一襲紅夾克的季竹君化身為畫中的紅衣人，頻繁現身於王攀元的畫作中，訴說著兩人的淒美故事。 Lot 1061《長相思》便是王攀元回顧青春往事的作品。暗紅色的圓潤線條勾勒出一個女體，大面積的深紅獨自側臥，背景塗抹上一層層的油彩，沈鬱幽澀的黑，層層鋪疊，在光的折射下，散發出深藍色、灰白的立體感，襯托出一個虛無的夢，夢中伊人正是昔日摯愛季竹君。孤苦未果的戀情成為王攀元一生的缺憾，畫面抒發深藏已久的濃烈情感，描繪午夜夢迴每每盼見的紅色倩影。介於人物畫與抽象畫之間，強調寫意而非寫實，意境與氛圍成為一大特色，每每欣賞之餘，心中塊壘無不卸下，從而遠離塵囂，沉醉於他孤獨絕美的藝術世界。

※ 互見Lot 1134王攀元《與君相知》。

After 1933, during his period studying at Shanghai Academy of Fine Arts, he started to combine Chinese arts with western arts. At this period, he met his beloved one Ji Zhu-Jun, they were meant to be. Wang could not get his tuition fee done and suffered from typhoid, more; his family ignored his disease, and left him alone. At this moment, Ji accidentally got the news about his illness, and decided to stay with him while they were yet strangers to one another. The disease is tough, Ji almost bet all her life looking after Wang, which could be considered miracle to Wang. They fell in love with each other after Wang got healed, and before that, Wang decide follow Pan Yu Liang to France, which at the end of the day was the ending between Wang and Ji forever more. Their fate is gone within that wartime. Wang often brought up with this memory in his old age, asking in his diary “Ji, if you are still alive, may we meet in our dream.” Lot 1061 Long for you is one of Wang Pan Youn’s works of memorizing his youth. Dark red round lines outline a female body; large area of crimson lying on the side alone. Layers of oil paint are applied on the background; the somber blacks are layered to bring an unreal dream and the woman in the dream is the lover Ji Zhu Jun. The bitter love affair became Wang's lifelong regret; the picture expresses strong emotion that has been hidden for a long time and depicts the red image in dream at midnight. Wang's oil paintings are often between figure and abstract paintings, he emphasizes impression rather than realistic. Artistic conception and atmosphere have become major features of his works. Through appreciation, viewers can escape from the crowd and indulge in Wang's lonely and beautiful art world.

1061

王攀元 (1912-2017) 長相思油彩畫布 1997 簽名左下：P.Y.WANG. 50×60.5 cm (19.7×23.8 in.) 附藝術家親簽之畫廊保證書

WANG Pan Youn Long for you Oil on canvas 1997 Signed lower left: P.Y.WANG. Attached gallery certificate signed by artist

NT$ 1,200,000-2,500,000 HK$ 319,300-665,200 US$ 40,930-85,260

1062

戴壁吟 (b.1946) 西班牙油彩畫布簽名左下：Dai 60.5×72.5 cm (23.8×28.5 in.) 附畫廊保證書

DAI Bih In Spain Oil on canvas Signed lower right：Dai With certificate of gallery

NT$ 120,000-200,000 HK$ 31,900-53,200 US$ 4,090-6,820

1063

席德進 (1923-1981)

SHIY De Jinn

廟街

Temple Street

速寫 1976 簽名左下：席德進 76 鈐印：席德進印（白文） 25.4×34.4 cm (10.0×13.5 in.)

Sketch 1976 Signed lower left: Shiy De Jinn in Chinese 76, with one seal of the artist

NT$ 20,000-35,000 HK$ 5,300-9,300 US$ 680-1,190

1064

席德進 (1923-1981)

SHIY De Jinn

臉譜

Facial Makeup

速寫 1979 簽名右下：席德進 79 鈐印：席德進印（白文） 29.5×24.3 cm (11.6×9.6 in.)

Sketch 1979 Signed lower right: Shiy De Jinn in Chinese 79, with one seal of the artist

NT$ 20,000-35,000 HK$ 5,300-9,300 US$ 680-1,190

席德進

SHIY De Jinn

席德進1923年出生於四川，1948年以第一名畢業於杭州藝專（現今中國美術學院），為林風眠得意弟子之一。戰亂間遷台定居，六○年代間前往歐美深耕藝術，走訪英國、義大利之後落腳巴黎，在法國定居長達三年。旅居海外領悟藝術創作應探索並回歸內在自身；1966年返台，回到他將之視為人生第二個故鄉的地方；七○年代醉心於台式古建築考察、攝影、撰文，因此留下許多古屋容顏寫生；八○年代則主要著重當代水墨畫，一生只為創造美。藝術表現手法上，席德進的渲染技法統合了水彩與水墨，將墨色、線條帶入水彩畫中。墨與黑彩在材質上、文化意義上都是不同的材料。席德進自述：「假如我們不是那麼狹義地解釋水彩畫，我們何嘗不可以說中國宋代的潑墨畫法不也是水彩畫嗎？所不同的，是中國畫以墨為主，以墨當色吧。」所以在他的水彩作品可以看到彩中有墨的厚度，墨中有彩的靈動，墨彩相互交融映輝。席德進於1970年代開始創作「花卉鳥禽」，描繪民間風物與生活百態，席德進曾言：「中國人畫花，尊重自然，追求天趣。」Lot 1068《閒適自得》Lot 1071《富貴水仙》紀錄具有台灣本地色彩的景物，相同題材作品皆列入國立台灣美術館典藏。席德進巧妙地安排高低不同的花瓣位置，產生富有節奏感的畫面，有著特別的樣貌與

Shiy De Jinn was born in 1923, Sichuan, China. In 1948, he graduated top of his class from the Hangzhou National College of Art (China Academy of Art). Shiy was one of LIN Feng Mian’s favorite pupils. Shiy moved to Taiwan during the war and then visited America and Europe to develop art. After visiting the UK and Italy, Shiy settled in Paris for three years. Shiy realized that art creation should explore and return to the inner self when living abroad, so he returned his second hometown Taiwan in 1966. In the 1970s, Shiy was fascinated by ancient Taiwanese architecture and did a lot of investigation, photography, and writing to record ancient houses. In the 1980s, he focused on contemporary ink painting, and his whole life was to create beauty. As for art expression, Shiy’s diffusion technique mixed watercolor and ink, and bring the ink and the lines into watercolor paintings. The ink and black is different from materials or cultural meaning. Shiy “If we don’t define watercolor so narrowly, why can’t we say that Splashing ink in Song period is also watercolor paintings? The difference is that Chinese paintings rely mainly on ink and use the ink as color” Therefore, in Shiy’s watercolor paintings, viewers can see thickness of ink in the color, and brightness of color in the ink. Ink and color are mixed together and reflected to each other. Shiy De Jinn began to paint flowers and birds in the 1970s and depicted folk cultures and life styles. Shiy once said “Chinese

外形，讓簡單的水仙花富有活潑的生命力，席德進以細膩的眼光觀察生活事物，賦予他們生動豐富的表情與姿態。席德進亦著迷於古建築，他認為見證歷史的古屋是台灣獨特的風景，飛簷紅磚成為他的靈感來源，Lot 1066《金秋嵩高》紀錄鄉村古屋，散發著東方敦厚樸實的美德，洋溢親切又恬靜的氣氛。美學評論家蔣勳曾說：「席德進把臺灣畫進中國的山水。」席德進面對生命，面對風景都是誠實的，他從不閉門作畫，所畫的必是眼前的山水。Lot 1069《雲水間》、Lot 1070《水沙蓮》、Lot 1065《田園樂》、Lot 1067《層巒疊嶂》精彩呈現席德進觀察的台灣山水，以水橫刷畫紙，使紙張飽含水分後，再上色大筆渲染，準確拿捏遠近層次與色調變化。水彩風景畫具有一種獨特的神秘氣息，水氣淋漓如多霧的天府之國，又有著南國島嶼宛如焰火般的熱情。感性浪漫的席德進曾在自己的畫裡題上名句：「鮮豔還給季節，芬芳還給土地，姿態還給風雨。」觀看席德進的畫作，恬淡的色塊畫面隱喻著他堅韌的生命與摯烈的感情。

paint flowers, respect nature, and pursue natural fun.” Lot 1068 Leisure and Lot 1071 Wealthy Narcissus record sceneries with local colors in Taiwan, and works of the same subject are collected by National Taiwan Museum of Fine Arts. Shiy cleverly arranged petals in different heights to create a rhythmic picture. With special shapes and appearance, narcissus is full of vitality. Shiy observed objects in life keenly, and gave them vivid expressions and gestures. Besides, Shiy was fascinated by ancient architectures because ancient houses witness history and are unique landscape in Taiwan. Cornice and red bricks became his source of inspiration. Lot 1066 Autumn records country houses, conveys honest virtues of the East and shares a cordial and tranquil atmosphere. Art Critic Chiang Hsun has said “Shiy has painted Taiwan into Chinese landscape.” Shiy was always honest while facing his life and scenery. Shiy never shut a door and paint; instead, the subject is always the landscape in front of him. Lot 1069 Landscape, Lot 1070 Landscape, Lot 1065 Landscape, and Lot 1067 Landscape amazingly present Taiwanese landscape observed by Shiy. Shiy brushed with water to saturate the paper, then painted in large strokes to wash, and accurately controlled the near and far gradation and hues changes. Watercolor landscape painting has a mysterious atmosphere; it is damp and misty but also contains the fire passion of the southern islands. Sensible and romantic as Shiy, once wrote a famous sentence on his painting "Return bright colors to seasons, return the fragrance to the land, and return the posture to winds and rains." Viewers can feel strong emotions behind tranquil colors, like a metaphor of his strong life and enthusiasm for art.

席德進《微光晨曦》 1973 水彩紙 58×78 cm 景薰樓2013秋季拍賣會，成交價台幣2,832,000。 44

1065

席德進 (1923-1981) 田園樂水彩紙 1981 簽名左下：席德進 1981 57×76.5 cm (22.4×30.1 in.)

SHIY De Jinn Landscape Watercolor on paper 1981 Signed lower left: named Shiy De Jinn in Chinese, dated 1981

NT$ 650,000-900,000 HK$ 173,000-239,500 US$ 22,170-30,690

1066

席德進 (1923-1981) 金秋嵩高紙彩墨 1980 簽名左下：席德進一九八○ 鈐印：席德進（朱文）席氏書畫（白文） 73.3×46.4 cm (28.9×18.3 in.)

SHIY De Jinn Autumn Ink and color on paper 1980 Signed lower left: Shiy De Jinn and 1980 in Chinese, with two seals of the artist

NT$ 180,000-350,000 HK$ 47,900-93,100 US$ 6,140-11,940

1067

席德進 (1923-1981) 層巒疊嶂水彩紙 1979 簽名左下：席德進 1979 66×110 cm (26×43.3 in.)

SHIY De Jinn Landscape Watercolor on paper 1979 Signed lower left: named Shiy De Jinn in Chinese, dated 1979

NT$ 1,300,000-1,600,000 HK$ 345,900-425,800 US$ 44,340-54,570

1068

席德進 (1923-1981) 閒適自得紙彩墨 1977 簽名左上：席德進 1977 鈐印：席德進印（白文） 76×44.3 cm (29.9×17.4 in.)

SHIY De Jinn Leisure Ink and color on paper 1977 Signed upper left: Shiy De Jinn and 1977 in Chinese, with one seal of the artist

NT$ 180,000-350,000 HK$ 47,900-93,100 US$ 6,140-11,940

1069

席德進 (1923-1981) 雲水間水彩紙 1980 簽名左下：席德進 1980 57×76.5 cm (22.4×30.1 in.)

SHIY De Jinn Landscape Watercolor on paper 1980 Signed lower left: named Shiy De Jinn in Chinese, dated 1980

NT$ 650,000-900,000 HK$ 173,000-239,500 US$ 22,170-30,690

1070

席德進 (1923-1981) 水沙蓮水彩紙 1980 簽名左下：席德進 1980 57×76.5 cm (22.4×30.1 in.)

SHIY De Jinn Landscape Watercolor on paper 1980 Signed lower left: named Shiy De Jinn in Chinese, dated 1980

NT$ 650,000-900,000 HK$ 173,000-239,500 US$ 22,170-30,690

1071

席德進 (1923-1981) 富貴水仙紙彩墨 1976 簽名左下：席德進 1976 63.4×42 cm (25×16.5 in.)

SHIY De Jinn Wealthy Narcissus Ink and color on paper 1976 Signed lower left: Shiy De Jinn and 1976 in Chinese

NT$ 180,000-300,000 HK$ 47,900-79,800 US$ 6,140-10,230

1072

唐海文 (1927-1991)

TANG Hay Wen

無題

Untitled

紙彩墨鏡框（雙聯作）簽名右下：Tang 海文 70×100.8 cm (27.6×39.7 in.)

Ink and color on paper Signed lower right: Tang, Hay Wen in Chinese

NT$ 180,000-260,000 HK$ 47,900-69,200 US$ 6,140-8,870

趙無極

ZAO Wou Ki

「他畫中層次複雜，點線雜錯，層層掩蓋又互相爭著要顯露；透明、半透明和不透明的質感互相廝咬又互相補充。這些技法構成了一種獨特的腔調，可說是趙腔吧！」－吳冠中形俱至形滅、具象到抽象，趙無極的作品無一不體現傳統中國文化。趙無極用細碎尖利的筆觸將想像中的物質加以凝聚碰撞，從而形成一個處於對抗、衝突的視覺中心，將畫作其餘部分推至遠處，使之疏散虛化。從畫面效果來看，無一處是陳述性亦無具象的痕跡，但畫面能使觀者感受到作品與傳統藝術間千絲萬縷的聯繫，可謂傳統中國山水的延伸。趙無極1921年生於北平，自幼學習中國傳統文學藝術，熟悉書法家米芾(1051-1107)的書畫風格，1948年移居法國求學，為了創作上的突破選擇避開水墨創作，希望擺脫自身的文化框架，專注於油畫創作。然而在1970年代初出現轉機，起因於當時妻子患上重病，趙無極為照顧妻子無法繪畫大幅油彩，此時摯友亨利．米修(Henri Michaux)建議他改創作水墨畫，促使趙無極重新提起毛筆，揮灑於宣紙上，此階段可謂趙無極的「蛻變期」。相隔多年再畫水墨，不變的是嫻熟的運筆基礎，不同的則是吸收西方抽象藝術的創作風格，兩者合一揭開水墨創作的新面目。趙無極如此形容水墨創作：「能夠接觸宣紙上的皺摺讓我非常快樂。它和平滑堅固的油畫布是兩種截然不同的感覺。宣紙上不規則的紋理和水份為創作帶來無窮的可能性。水墨和宣紙交會，被它吸收，並隨著手肘的律動產生出不同黑、白、灰，上千個灰的色調。在筆尖下，一個空間誕生了，隨著我馳騁的思想成型、飛翔、輕盈地擴散－那是筆觸的輕，顏色的輕，時間流逝的輕。」

“In Zao’s paintings, layers are complex; dots and lines crisscross, they cover up each other but fight to stand out; transparent, translucent and opaque textures bite each but also complement each other. These techniques constitute a unique style, and could be called Zao’s style.” - Wu Guan Zhong From with-image to without-image, from figurative to abstract, all Zao Wou Ki’s artworks embody traditional Chinese culture. Zao condensed the imaginary material with fine and sharp strokes and made them collided, so that a confronted and conflicted vision center was produced, which pushed the rest forward somewhere decentralized. From an image level, neither descriptive nor figurative traces exit, yet the whole painting is somehow tightly linked to traditional Chinese landscapes. Zao Wou Ki was born in Peiping, China in 1921, and Zao learned Chinese traditional literature and art in childhood and was familiar with a calligrapher Mi Fu (1051-1107). He moved to France in 1948 to study and avoided ink painting for creative breakthroughs. Therefore, Zao focused on oil painting and try to get rid of his own cultural framework. However, a turnaround occurred in the early 1970s, Zao’s wife was seriously ill, so Zao had to take care of her and was unable to paint large oil paintings. At this time, his best friend, Henri Michaux, suggested that Zao create ink painting. Then Zao raised a brush again and swayed it on the paper, and this stage could be described as Zao's "transformation period." Zao returned ink painting after many years, what remained unchanged was his skillful basis while the difference was knowledge of creative Western abstract art. Zao combined both and unveiled a new style of Chinese ink painting. According to Zao, “To be able to touch the wrinkles on xuan paper offers me tremendous pleasure. It is completely different compared to the smooth and firm texture of canvas. The irregular marks and water on xuan paper help create infinite amount of astonishing rendering effects. Once the xuan paper comes into contact with the ink, it absorbs the ink, and combining the rhythmic movements of the elbow, creates variations of black, white and grey-a thousand shades of grey. A space is invented under the tip of the brush, taking its form and soaring freely as I run my imagination, the ink gracefully spread-the lightness of the brushstroke, the lightness of colors, and the lightness in passing of time.”

趙無極以中國水墨、書法抒發自我，其趙式風格之線條、色彩交錯流動，磅礡地形塑一股自然力量。自由的筆觸和大片的墨，畫面浮動於虛無的空間和變幻的墨色之中，直率地表現精神和情感。趙無極風格變化豐富，在揮舞潑灑的姿態上，和許多抽象表現派畫家一樣，喜將大幅畫布鋪於地面作畫，在無拘無束中盡情揮灑，由於深受中國文化薰陶，作品始終洋溢著東方氣息，講究氣韻，在他久居歐洲的異鄉生活裡，憶起了中國哲學所特有的天人合一，故將虛靜忘我的精神意境，作了似西方思維的詮釋。品味趙無極成熟期的作品，他那酣暢淋漓的畫筆下所蘊含的東方意韻令人沉醉，筆端也自然的流露出了幾十年海外生活所理解和滲透的西方浪漫主義色彩。那些美好的意象不時撥動人們的心弦，湧動著神奇變化的風雲，彷彿咆嘯微茫的海濤，頓時融化在無盡的藝術幻想中。「那重疊著錯縱複雜的空間，表現出大氣在流動，風在吹拂的感覺。」趙無極十分嚮往自然，這份憧憬在他的抽象世界裡表露無遺，創作生涯晚期作品，更是盡情抒發對自然的喜愛，如Lot 1073《無題》與Lot 1074《無題》皆創作於2000年初期。畫紙幻化為一幅又一幅遼闊的視野，畫家的思緒蛻變成浸滿墨水的筆，游移於灰黑交錯筆觸之間，輕巧地將中國古意揉入西畫技巧。兩件拍品皆為稀有版畫，總數量各僅有8 件，不同於過往趙無極版畫作品多為印刷99件，兩件皆由現收藏者在旅居法國時期購入。站在畫前，此時，人的存在已微乎極微，迎面而來的，是無限空曠的冥想，沒有象度上下，沒有時間先後，是無重力、浩瀚無垠的太空。趙無極的繪畫境界，誠如其所言：「我畫自己的生活，但我也試圖畫出一個看不見的地方，也是夢境，一個讓人感覺到完美和諧的地方，即使充斥著變動的形狀或對立的力量。每一幅作品，從小到大，都是這個夢境的片段。」

Zao displayed his reflections on life through Chinese ink painting and calligraphy. Zao’s characteristic lines and flowing color shape tremendous natural momentum. With free strokes and lots of ink, the picture floats in the void space and changing ink colors. It expresses spirit and emotion straightforward. Zao Wou Ki enjoyed painting his canvas on the ground. With rooted influence from motherland, Zao’s artworks are always full of oriental scent and artistic conception. During his long years in Europe, he re-discovers the special idea of “sky and human as one” in Chinese philosophy; he performed his interpretation in a western form. When admiring Zao’s mature works, viewers were overwhelmed by the oriental charm under hearty brushes. The end of brush also naturally revealed the western romanticism that had been understood and penetrated by decades of overseas life. Those beautiful images touch people's hearts from time to time; miraculous storm clouds emerge and roaring ocean waves suddenly disappeared in the endless artistic fantasy. “ The intricately overlapping space exhibits the feeling of flowing air and stroking wind.” Zao yearned for the nature very much; this passion visualized in his abstract world such as Lot 1073 Untitled and Lot 1074 Untitled. Canvas turned into the extraordinary extensive universe, the painter's thoughts turned into an ink-filled brush, wandered between grays and blacks, and cleverly mix Chinese history with Western skills. Both lots are rare prints because they only have 8 pieces separately; in contrast, most of Zao’s other prints are 99 in total, and both were bought by the current collector during her living in France. Stand in front of paintings, the existence of human being is extremely trifling and minute. What greets us is the boundlessly vast universe without the differentiation of room and sequence of time; namely, an immense outer space of zero-gravity. As what Zao said “I paint my own life but I also try to paint an invisible place, that of dreams, somewhere where one feels in perfect harmony, even in the midst of agitated shapes or opposing forces. Every picture, from the smallest to the biggest, is always a fragment of that dream place.”

1073

趙無極 (1921-2013)

ZAO Wou Ki

無題

Untitled

版畫 2011 限量8件簽名右下：無極ZAO 左下鋼印 180×96 cm (70.9×37.8 in.)

Print 2011

來源：現收藏者旅居法國時期購入

Edition of 8 Signed lower right：named Wou Ki in Chinese and ZAO Provenance: Present collector bought it in France

NT$ 1,000,000-1,300,000 HK$ 266,100-345,900 US$ 34,110-44,340

畫作背面說明

1074

趙無極 (1921-2013)

ZAO Wou Ki

無題

Untitled

版畫 2011 限量8件簽名右下：無極ZAO 左下鋼印 178×95 cm (70.1×37.4 in.)

Print 2011

來源：現收藏者旅居法國時期購入

Edition of 8 Signed lower right：named Wou Ki in Chinese and ZAO Provenance: Present collector bought it in France

NT$ 1,000,000-1,300,000 HK$ 266,100-345,900 US$ 34,110-44,340 56

劉國松

LIU Kuo Sung

劉國松1932年生於安徽，1949年隨國民政

皴」時說：「他運用紙張本身的紋理，在紙上撕

府來台，1956年畢業於臺灣師範大學美術系，

下粗糙的紙筋，因此在畫中就顯出絲絲宛如電光

創立五月畫會，掀起現代藝術運動，並竭力倡導「中國畫現代化」，是現代水墨運動重要的推

火花的紋路，在巉岩中穿越併發。這些作品不只

手。他在60年代就曾說「革筆的命」、「革中鋒的命」，提出水墨必須創新及現代化，劉國松一生致力於將歐美藝術的新觀念與技巧引入，以建立中國繪畫新傳統為己任，享有「水墨現代化之父」美譽，70年代應聘香港大學藝術系執教，將現代水墨的風氣帶到了香港，前後廿餘年培養後進無數。不僅在世界各地舉辦過上百次的展覽，更獲多項國際性大展及殊榮，藝術成就斐然。尤其創造筆法獨特抽象的「抽筋剝皮皴」，美國的中國藝術史學家麥可．蘇立文（Michael Sullivan，1916-2013）形容劉國松的「抽筋剝皮

Liu Kuo Sung was born in Anhui, China, 1932, and moved to Taiwan in 1949 along with KMT government. In 1956, he graduated from National Taiwan Normal University at department of fine arts and established Fifth Moon Group, which was a great pusher of vital modern inking induced modern art movement for advocating “Chinese Fine Arts Modernized”. He once mentioned up ‘Revolution against the brushes’ in 60s, it needs to be creative and modernized when it comes to ink painting. Liu dedicated himself to incept new idea and technique from western arts in order to setup a brand new subverted tradition. For that, he was phased “the father of modern ink painting” and invited as lecturer of department of fine arts at University of Hong Kong in 70s, who brought modern ink to Hong Kong and educated bunch of superb students thereafter. Other than several expositions across the world, he has as well obtained diverse of international exhibition and achieved specialties, which is brilliant. “…using the very texture of the paper itself, pulling out the coarse fibers here and there so that tremulous shimmering threads like little bursts of electric charges seem to dart in and out among the rocks. These works were both vibrating with life and beautiful texture.” said Michael Sullivan (1916-2013) to Liu’s unique abstractive method. Lot 1075 Walking in the Sky technically exposed the method which Liu has invented in 1963 on 57

看來栩栩如生，而且肌理優美動人。」 Lot 1075《行空》展現此獨特技法，1963 年劉國松實驗研發了手工製作的「國松紙」，在紙筋粗厚的紙上，兩面反覆描繪、弄皺和剝皮，再加上花青染色，並以白線勾勒層層山稜，創作出宏偉的巍巍群峰景致。山脈在劉國松的描繪下，展現雄健陽剛、天地渾茫的氛圍，如余光中評論：「畫面是有限的，可是予人的感覺是無限的，因為那是水的感覺、雲的感覺、風的感覺，有限對無限的嚮往，剎那對永恆的追求。」白線的交織與山影形成強烈對比，窮形盡相地描繪山水面貌，流露著劉國松對大山大水的深厚情感。

" Guo-song paper". The magnificent landscape with mountains depicted by white strings as well as the dyed by cyanine, these all are shown on the both sides of thick paper creased and peeled beforehand. The mountains’ masculinity and ambiguity under Liu’s creation is just as the poet Yu Kwang-chung commented “The scene is limited while the feeling is infinite because it is the feeling of water, cloud and wind. They are yearning for infinity, and pursuit of eternity.” The white strings across shadow of mountain formed a great contrast and the face of mountain and streams by which it reveals the emotion of Liu towards this great landscape.

首都藝術中心：《突兀．夢幻．蛻變劉國松畫集》

1075

劉國松 (b.1932) 行空紙本設色鏡框 1968 簽名左下：劉國松一九六八鈐印：劉國松（白文） 94.5×58.3 cm (37.2×23 in.) 出版：首都藝術中心：《突兀．夢幻．蛻變劉國松畫集》，（臺北市：2008年）。國立台灣美術館：《一個東西南北人— 劉國松80回顧展》，（臺中市：2012 年），頁84。

LIU Kuo Sung Walking in the Sky Ink and color on paper 1968 Signed lower left: Liu Kuo Sung 1968 in Chinese, with one seal of the artist Literature: Capital Art Center, Disharmony, Dreamy, Evolving The Paintings of Liu Kuosung (Taipei, Taiwan, 2008) N a t i o n a l Ta i w a n M u s e u m o f F i n e Arts, A man of East, West, South and North: Liu, Kuo-Sung 80th Birthday Retrospective Exhibition, (Taichung, Taiwan, 2012), P.84

NT$ 2,400,000-3,000,000 HK$ 638,600-798,300 US$ 81,850-102,320

鄧卜君

Teng Pu Chun

鄧卜君，1957年生於台灣花蓮，1984年畢業於國立藝專（現今台灣藝術大學）。鄧卜君被譽為台灣當代水墨奇才，巧妙融合魔幻寫實的風格與傳統水墨技法，自言：「我常想，水墨現代是什麼？是把傳統唾棄、破壞或改革？但我都沒做，卻選擇和傳統共存對話，而後轉念轉換。」畫作主題雖以傳統山、水、樹為題材，卻在構圖造型上成功跳脫傳統，運用超乎現實的景觀挪移與多重視點的空間布置，保留山水畫的風雅，同時建構如真似幻的山水風景，成為魔幻寫實的當代山水意境。鄧卜君自小在父親的耳濡目染下，熟悉岩石肌理構造，觀察故鄉七星潭的硬砂岩，啟發他獨創的石頭畫法『搓點皴』，細膩描繪岩石的特殊質感，創造獨樹一格的風景。2014、 2017展於紐約蘇富比，2017參加「香港水墨藝博INK ASIA」，2020於台北名山藝術展出「鄧卜君當代水墨圖誌」。

Teng Pu Chun was born in Hualien, Taiwan in 1957, and graduated from National Taiwan University of Arts in 1984. Teng is known as a genius of contemporary ink painting in Taiwan because he cleverly fuses magical realism and traditional ink techniques. Teng said “I often think what modern ink painting is. Is it to refuse, destroy or reform the tradition? But I did none of these; I choose to coexist with the tradition, and then change.” Although themes of the paintings are based on traditional mountains, water and trees, Teng successfully break away from tradition in composition. He uses surreal landscape shifting and space of multiple viewpoints to preserve the elegance of landscape painting, and also to construct an imaginary landscape; thus become a magical realism contemporary landscape. Teng has been influenced by his father, and is familiar with rock texture and structure. He observed the hard sandstone in hometown Chi-shing-tan, and it inspired him to create his individual texturing technique, the “rolled wrinkle stroke.”That is, he depicts the special texture of rocks and creates an unique scenery. Tenga’s art works were showed at Sotheby's New York exhibition in 2014 and 2017, participated in Hong Kong Ink Asia in 2017, and the contemporary ink painting exhibition in Taipei in 2020.

1076

鄧卜君 (b. 1957)

Teng Pu Chun

摘星山

Star Picking Mountain

紙本設色鏡框 2015 39×141.5 cm (15.4×55.7 in.) 出版：采泥藝術：《墨幻搖滾》，（臺北市： 2017年），頁101。采泥藝術：《石間秀痕》，（臺北市： 2015年），頁54。

Ink and color on paper 2015 Literature: Chini Gallery, Rock the Dream, Spirit of Ink (Taipei, Taiwan, 2017), P.101 Chini Gallery, The Imprints Between The Rocks (Taipei, Taiwan, 2015), P.54 Attached gallery certificate signed by

附藝術家親簽之畫廊保證書

artist

NT$ 350,000-450,000 HK$ 93,100-119,700 US$ 11,940-15,350

「繪畫是我解釋人生意義的象徵，畫筆

CHIU Ya Tsai

邱亞才

是我自我表述的工具，表達出我內心抑鬱的複雜意識及孤獨的人我關係。」—邱亞才邱亞才出生於台灣宜蘭，幼時成績不佳放棄升學，服兵役時大量閱讀古今中外的文學經典，如莎士比亞(William Shakespeare, 1564-1616)、杜思妥耶夫斯基(Fyodor Mikhailovich Dostoevsky, 1821-1881)及司馬遷(145 B.C.-86 B.C.)等文學巨作，書中細膩的人物描寫與人性的深刻觀察，開啟邱亞才對文學寫作的追求，也引領他走上藝術創作之路。邱亞才在30歲左右才開始創作，白天作畫，晚上在台北紫藤廬寫作，同時也著迷於觀察來往的人群，所見所聞成為創作素材，因此小說與畫作皆圍繞在人物主題上。 1984年與香港漢雅軒畫廊合作，展出後獲得許多藏家青睞，以肖像畫打開知名度。邱亞才的肖像畫用筆細膩，受傳統中國工筆書畫影響，人物多身材頎長、眉清目秀、杏眼鷹鉤鼻，人物表情沈靜內斂，令觀者感受到文人的氣質。1999年於瑞士藝術博覽會《朱銘、邱亞才雙人展》，2001年在紐約萬玉堂《朱銘、邱亞才雙人展》，2006 年參加新加坡、上海、北京藝術博覽會， 2019年宜蘭美術館《人生浣腸——邱亞才回顧展》。收藏家雅戈德菲爾德（Anna Maria Jagdfeld）收藏多件邱亞才作品並形容他的畫作：「邱亞才在繪畫中所欲追尋的意圖，絕不僅限於描繪主角的外形和外貌，還有體現中國藝術的特色，將繪畫視為『自我存在』的延伸。」故邱亞才的肖像畫風格在畫

“Painting is how I explain life meanings, and the paintbrush is the tool of self-expression, to express my inner depressing complex consciousness and lonely relationships between people.”-Chiu Ya Tsai Chiu Ya Tsai was born in Yilan, dropped off the school due to his low present of school. He had read lots of classic books written by great authors while serving at military, e.g., William Shakespeare (1564-1616), Fyodor Mikhailovich Dostoevsky (1821-1881) and Sima Qian (145 B.C.-86 B.C.). The figures in those books triggered his interests in literature and led him to the road of art creation. Chiu began to work on arts since his 30s, painting during the day and writing at the Wisteria Tea House in Taipei at night. At the same time Chiu was obsessed with observing people, and what he saw became his creation material. Therefore, his pieces were mostly surrounding human beings as the majority. He took credits while exposing his pieces at Hanart TZ Gallery, Hong Kong in 1984, and became well-known for portraits thereafter. Chiu’s portraits are delicate which are obviously affected by Chinese Gongbi painting, a traditional realistic style characterized by fine brushwork and close attention to detail. The figures are either tall or skinny with clear brown eyes, calm and reserved faces, evoking a kind of literati-esque atmosphere. Chiu launched “Two Taiwan Artists: Ju Ming | Chiu Ya Tsai” in 1999 and 2001 respectively at Switzerland fine art exhibition and Wanyu Tang, New York, and took part in Singapore, Shanghai and Beijin fine art exhibitions, then back to Yilan Museum of Art with Lifetime Colon: Chiu Ya-Tsai Retrospective exhibition, Taiwan in 2019. Art collector Anna Maria Jagdfeld has preserved lots of Chiu’s works and commented as “What Chiu YaTsai portrays in his paintings is by no means limited to the appearance of the subject, but he also reflects the characteristics of Chinese art. For him, painting is an extension of ‘self-existence’.”, for that makes his portraits distinctive.

壇上獨樹一幟。進入九〇年代，邱亞才用色上更加豐富多變，Lot 1077《文雅》呈現邱亞才作品中少見的鮮明色彩，畫中的青年身穿幾何三角色塊組合而成的鮮豔衣裳，巧妙的色彩混搭，展現邱亞才對於顏色驚人的掌控力。衣著的圖形排列極富現代時尚感，單色深邃的背景使人物躍動起來，呈現出令人眼睛為之一亮的視覺效果。然而雙手叉腰，直挺腰桿的姿勢似乎刻意掩飾著自己的不安，以一種

1077

邱亞才 (1949-2013)

CHIU Ya Tsai

文雅

Gentleman

油彩畫布 1993 130×97 cm (51.2×38.2 in.)

Oil on canvas 1993 Literature:

出版：旻谷藝術：《邱亞才》，（台北市：2009年），頁81。

Ming Art Gallery, Chiu Ya-Tsai, (Taipei, Taiwan, 2009) , P.81

盛氣凌人的狀態來遮掩自己的戒心，平靜的面部表情之下，蘊藏了矛盾與衝突的情緒變化。

NT$ 1,800,000-3,000,000 HK$ 479,000-798,300 US$ 61,390-102,320

1078

邱亞才 (1949-2013)

CHIU Ya Tsai

插腰的男子

Shank Men

油彩畫布 100×80 cm (39.4×31.5 in.)

Oil on canvas Literature:

出版：歌德藝術中心：《邱亞才》，（台中市；2013年）頁169。

Goethe Art Center, Chiu Ya-Tsai, (Taichung, Taiwan, 2013) , P.169

NT$ 1,200,000-1,500,000 HK$ 319,300-399,100 US$ 40,930-51,160

獨特細長的身形，落寞孤獨的身影與畫中永遠費人猜疑的眼神，是畫家邱亞才創作中不變的主題。與許多其他藝術家不同的是，他並不隨時代改變其主題，而是長期孜孜不倦的專注在人物的探索，塑化出一個個性格迥異的人物。邱亞才的執著在於創作，更在於對人性的探索：人性的多變、人心的深沉，無法用單一畫面捕捉；人世的曲折、人情的流動，無法用一篇故事說透。邱亞才堅持創作著，反覆的在人心與人性上琢磨，是他一生不曾放下的功課，他憑藉著以此磨練出的通透，畫出每一幅逼視著觀者心中角落的沉默面孔。作品背景用色晦暗，顏料厚重，墨綠的背景與男子憂鬱的氣質，隆起的身軀突顯了形體的孤絕，邱亞才的肖像畫多懷有落寞的文人氣質，男子神情自然、目光堅毅，不卑不亢的氣質大抵是歷經滄桑、閱盡千帆的沉澱。

邱亞才作畫實景照 63

The slender characters of unique proportion are the iconic figures in Chiu’s artworks. The characters seem trapped in solitude, and they does nothing but look into somewhere with their mysterious eyes. Unlike other artists, Chiu does not change the theme of his art through time; he just keep painting portraits one after another. For Chiu himself, he makes changes already, because every single man is unique. Chiu is persistence with his creation, and also the exploration of human. The deepness of the human heart cannot be captured by a single picture. Chiu insists on his artwork and explores in the human hearts. With his perseverance on artwork, he drew every silent face that looked at the viewer's heart. The background covered up darkly with heavy green pigment on reveal the man’s inhibit persona, even he has his back up tell the ongoing frustration. Most of Chiu’s portraits tell desolate behind a civilized man, he can be either peaceful or perspective, but the more is about what he had been through, by hundreds of thousands of scenery calm him down.

1079

江兆申 (1925-1996)

CHIANG Chao Shen

野色連空闊

Landscape

紙本設色鏡框題記：楚國多風雨，柴門喜晚晴；幽人臨水坐，好鳥隔花鳴。野色連空闊，江流接海平；門前向谿路，今夜月分明。唐人句。款文：茮原江兆申遣筆鈐印：兆申茮原（白）雙菩提龕（白）庚午（朱） 69.3×137.5 cm (27.3×54.1 in.)

Ink and color on paper

NT$ 1,300,000-1,600,000 HK$ 345,900-425,800 US$ 44,340-54,570

1080

李義弘 (b.1941) 宕濤論道紙本設色鏡框題記：泉聲天半玉龍飛，老樹懸崖覆釣磯；倚杖不知山近遠，數峰嵐翠濕春衣。乙丑孟冬藉題奚崗詩。款文：李義弘畫於笛音凝室明窗。鈐印：義弘（白文）在川（朱文）澄懷觀化（白文） 68.5×139 cm (27.0×54.7 in.)

宕濤論道寫初春罩新綠之景，清潤而骨體雄偉。山樑厚重，樹隨坡勢層層而上，天頭盡處密林叢橫，河渚岸際繁密而暗、堆石光亮；山壁乾枯破筆，前濃後淡，層次雖豐，卻雜然一體，能分見空間前後，線條闊淡而呈現一片濕潤虛像。左側突出處明亮，導源深垇絹絲瀑布，源頭活水、四方薈萃，一泓淵流留白，點破前後，務使畫面生動、耐人尋味。

LI Yi Hong Landscape Ink and color on paper

NT$ 500,000-900,000 HK$ 133,000-239,500 US$ 17,050-30,690

河流蜒燦，承飛瀑留白而下，養空而遊。此白，非僅紙素之白，乃為有情有趣而留之。不特襯托畫面主體，同時擴大畫面意境，無聲勝有聲，進而留有餘地，臻於意到筆不到之境。空本難圖，虛景清而實景現；神無可繪，真景逼而神景生，虛實相生，無畫處皆成妙境也。

1081

鄭善禧 (b. 1932) 閨中春信紙本彩墨托片款文：善禧。一九九○年春日，寫於台北鈐印：鄭（朱文）鄭（白文）善禧（朱文） 45×69 cm (17.7×27.2 in.)

ZHENG Shan Shi Spring Letter Ink and color on paper

NT$ 220,000-320,000 HK$ 58,500-85,200 US$ 7,500-10,910

1083

鄭善禧 (b. 1932) 熙來攘往

1082

鄭善禧 (b. 1932) 校庭寫生紙本彩墨托片款文：民國七十五年十月十三日，領學生校庭寫生。善禧鈐印：鄭（朱文）謙成居（白文） 40×60 cm (15.7×23.6 in.)

紙本彩墨托片款文：壬申，鄭善禧畫鈐印：鄭（白文）善禧（朱文）民國八十一年（白文） 59.5×29.5 cm (23.4×11.6 in.)

ZHENG Shan Shi Campus sketching Ink and color on paper

NT$ 150,000-230,000 HK$ 39,900-61,200 US$ 5,120-7,840

ZHENG Shan Shi Hustle and bustle Ink and color on paper

NT$ 150,000-230,000 HK$ 39,900-61,200 US$ 5,120-7,840

1084

1085

NT$ 22,000-50,000 HK$ 5,900-13,300 US$ 750-1,710

NT$ 36,000-60,000 HK$ 9,600-16,000 US$ 1,230-2,050

1084

1085

董作賓 (1895–1963)

精摹甲骨文

精摹嘉53甲骨文暨考釋札記

紙本墨書折頁釋文：乙卯卜，爭貞：今日王往于敦？乙卯卜，爭貞：子陷不死。貞征丕午蛛題記：一一二續3.26.1 鈐印：董作賓（朱文） 16.6×9.3 cm (6.5×3.7 in.)

紙本墨書折頁釋文：（文不錄）題記：（文不錄）鈐印：董作賓（朱文） 6.5×9.5 cm、26.7×10 cm (2.6×3.7 in.、10.5×3.9 in.)

DUNG Zuo Bin

DUNG Zuo Bin Depict Oracle Bone and Research Notes Ink on paper

Depict Oracle Bone Ink on paper

1086 1086

董作賓 (1895–1963)

DUNG Zuo Bin

手稿資料一批（四件組）

Macuscript (Set of 4)

紙本手稿釋文等：（文不錄）

Ink on paper

約：25.8×38.4 cm (10.2×15.1 in.)

NT$ 3,000-20,000 HK$ 800-5,300 US$ 100-680

1087

1088

1089

鄭善禧 (b. 1932)

金農體書五言律詩

《回鄉偶書》、《桃花谿》詩紙本墨書托片

釋文：深閉草堂清，草堂心

釋文：少小離家老大還，鄉音不改

太平；留僧時一飯，

鬢毛催；兒童相見不相識，

課子只雙檠。紅蕅花

笑問客從何處來。

無暑，青藤杖有情；

隱隱飛橋隔野煙，石磯西畔

要之尋玉檢，句漏問

問漁船；桃花盡日隨流水，

長生。

洞在清溪何處邊。

題記：七十七叟杭人金農。款文：中華民國一百零二年，癸巳孟冬清和之日，於新北市林口農舍，鄭善禧學之。

款文：二○○九己丑秋，鄭善禧草題記：唐賀知章《回鄉偶書》、張

作作（朱文）善（朱文）

Calligraphy

心畫（朱文）

NT$ 90,000-130,000 HK$ 23,900-34,600 US$ 3,070-4,430

Calligraphy NT$ 30,000-50,000 HK$ 8,000-13,300 Ink on paper US$ 1,020-1,710

人不知老，渴飲玉泉饑食一語妄發即有悔，謹言不特，大庭閨閣中無可亂發

ZHENG Shan Shi

尚方作鏡真大好，上有仙棗，壽如金石嘉且好。

最好消遣樂事。

70×30 cm (27.6×11.8 in.)

時，七十有六年矣。汀州伊秉綬記。

於時居林口謙軒農舍。

鈐印：鄭（朱文）善禧（白文）

Ink on paper

廿二日，與野雲同游放生讌集，距南華山人作畫

唐詩兩首。

吟味唐詩、玩書法確是休閒

30.5×141.5 cm (12×55.7 in.)

釋文：墨卿觀。嘉慶乙丑仲冬盦，因憶春間都門接葉亭

絕句。

善禧（朱文）

方鏡銘、《明儒言行》）紙本墨書托片

旭《桃花谿》各一首七言

鈐印：鄭（白文）

鄭善禧臨三體書（伊秉綬跋《秋湖盪舟圖》、尚

紙本墨書托片

之言。

款文：公曆二 ○ ○ 八耶誕前夕，鄭善禧臨。鈐印：鄭（朱文）善禧（白文） 70×29.5 cm (27.6×11.6 in.)

ZHENG Shan Shi NT$ 30,000-60,000 Calligraphy HK$ 8,000-16,000 Ink on paper US$ 1,020-2,050

台灣前輩畫家的「新視覺」時代 The new visual era of Taiwanese senior artists 每一個文化無不是從大河、大江開始，埃及有尼羅河文明，中國有長江、黃河、淮河文化。台灣呢？從台南的五條港、鹽水月港、諸羅北港等一路而上，來到了淡水河畔的艋舺、大稻埕，台灣的海洋文化，迸發出四百年來最燦爛的文藝果實。隨著日本時代文明開化的腳步，在巴洛克與閩南建築交錯的大稻埕，「古倫美亞」唱盤旋律輕快悠揚的新式聽覺，加上「波麗露」日式西餐的新味覺，引領著台灣人進入西方思潮。繪畫也不免俗的，從傳統的國畫、日本畫、文人畫，進化到了水彩、油畫的「新視覺」時代。台灣美術的藝壇活動，便在日籍美術教師的帶動和啟蒙下，促使前輩美術家們不約而同地赴日進修，陸續在台展、府展等展露頭角。這一代台灣前輩藝術家們對於繪畫的理想與熱情，傳達出台灣獨有的純樸民情與源源不絕的生命力，一同開創出台灣美術的嶄新風貌。石川欽一郎為台灣近代西洋美術啟蒙者，雖然他是日本人，卻使用西洋水彩技法，描繪台灣鄉村景物，此舉深深影響台灣本土畫家，使他們重新觀察自己生長的環境，開始尋找台灣社會樸實的本土精神。石川欽一郎同時也是台灣學校美術教育開創者，1907年首度來台，後來更任教於台北師範學校，愛才、識才培育了許多台灣畫家，學生眾多，如李梅樹、李石樵等，多數成為台灣第一代西畫名家，並於日後互相鼓勵、偕伴赴日深造。日治時代，由於台灣沒有專業的美術學習院校，當時對於藝術有興趣的人，大多選擇赴日本進修學習，楊三郎、李梅樹、李石樵、廖德政、張義雄等人都在此列，他們努力開拓台灣美術的新視野，為台灣藝術園地辛勤耕耘。 1927年由台灣教育會主辦的「台灣美術展覽會」簡稱「台展」，促成了台灣現代美術的萌芽與發展，打破了保守因襲的文人畫時代，也促使東洋畫興起，並造成文人畫的式微。1938年開始，官展改由台灣總督府主辦，簡稱「府展」，期間一共舉辦了六屆。在短短十六年的「官展」發展史上，台灣的西洋畫、東洋畫從無到有，除了成為台灣畫家與日本畫家的公平競賽平台外，透過美展，更提升了畫家們的社會地位，而且喚起了社會對於文化的重視。如李梅樹、李石樵、楊三郎等油畫家在「台展」、「府展」中嶄露頭角，後來各自活躍於台灣美術創作領域中。1934年李梅樹、李石樵與楊三郎等人成立「台陽美術協會」，是民間歷史最悠久的畫會，也是台陽美展的重要推手；1954年廖德政與張義雄等人組合成立「紀元美術會」，他們獨具自我性格的繪畫表現形式，豐富台灣藝術品類的樣貌，這些畫會團體都為台灣美術的近代化，奠定了良好的基礎。

Every culture starts with major rivers, for instance, Egypt has Nile Valley Civilization, and China has the Yangtze River, Huanghe and Huaihe cultures. What about Taiwan? All the way from Tainan's Wutiao Port, Yanyue Port, Zhuluo North Port, it came to Mengjia and Dadaocheng on the riverside of Tamsui. Taiwan's marine culture burst out brilliantly in four hundred years. With the civilization in Japan, in Dadaocheng where Baroque and southern Fujian architectures intersect, Columbia discs played melody with a new style of hearing; Bolero served a new taste of Japanese and Western food, all leaded Taiwanese into Western thoughts. Painting is also no exception, from traditional Chinese painting, Japanese painting, literati painting to the "new vision" era of watercolor and oil painting. Taiwan e se f in e arts ac tiv itie s u n de r th e le a d and enlightenment of Japanese art teachers, Taiwanese senior artists went to Japan to study and then showed up in the Taiwan Exhibition and Fu Exhibition. Taiwanese artists’ ideals and enthusiasm for paintings convey Taiwanese unique and sentiment and endless vitality, all together created a new style of Taiwanese art. Kinichiro Ishikawa was important to enlighten Taiwanese modern Western art. Although he is Japanese, he depicted Taiwanese countryside in Western watercolor. This move deeply affected Taiwanese local painters, and caused them to re-observe the environment they grew up, and began to look for the simple and native spirit of Taiwanese society. Ishikawa is also a founder of Taiwanese school art education; he first came to Taiwan in 1907 and later taught art in Taipei Normal School. Ishikawa taught and cultivated many Taiwanese artists and has lots of students such as Li Mei Shu, Li Shih Chiao and so on. Most of them became the first generation of Taiwanese Western Artists, and they encouraged each other to study in Japan. During Japanese colonization, since there were no professional artistic academies, most people who are interested in art chose to study abroad in Japan. Yang San Lang, Li Mei Shu, Li Shih Chiao, Liao Te Cheng, and Chang Yi Hsiung worked hard to open up a new horizon of Taiwanese fine arts.

台灣前輩美術家的作品，在人物、風景和靜物都有優秀亮眼的作品，風景畫作如楊三郎的Lot 1090《日本豔陽天》透過鮮豔溫暖的色彩和筆觸，表露了風和日麗的景觀，創造出了寧靜、淳樸的氛圍；張義雄的Lot 1041《日本阿爾卑斯山》取景日本的白馬三山，真性情地描繪山巒的綿延不絕。靜物畫如李梅樹的Lot 1093《薔薇》溫潤而大方，薔薇的典雅浪漫充盈畫布；人物畫如李石樵的Lot 1095《少女與百合》巧妙安排人物與花卉的構圖，相映成趣，格外端莊優雅。藝術家同時也加入台灣本土要素，如廖德政Lot 1094《甘蔗園》懷念故鄉豐原恬靜的風景，描繪台灣鄉村景致。欣賞前輩藝術家的作品，不僅能從中看到當時日本畫壇的影響，亦可從中看到在大時代下，藝術家們如何將變動中的文化、社會背景，以細膩自然的手法呈現於畫面。而他們豐富的色彩、強烈的線條構成，更如實記錄下台灣自然景觀的特色。

Taiwanese senior artists presented lots of excellent works in figures, landscapes and still life. Landscape paintings like Lot 1090 Sunny Days in Japan by Yang San Lang, seasonal colors and active brushstrokes lead viewers feel a leisure pace in the countryside. Lot 1041 Hakuba Sanzan by Chang Yi Hsiung depicts the endless range of mountains with Chang's true and sincere temperament. Still life like Lot 1093 Roses by Li Mei Shu, gentle and generous; elegant and romantic roses fill all the canvas. Figures like Lot 1095 Maiden and Lily by Li Shih Chiao, Li cleverly arranged the composition of character and flowers, they became more dignified and elegant. Artists also added local Taiwanese elements, for example; Lot 1094 Sugarcane Field by Liao Te Cheng, he recalled the tranquil scenery in his hometown, Fengyuan, and depicted Taiwanese countryside vividly. Admiring paintings of Taiwanese senior artists, viewers could see the influence of Japanese paintings at that time; moreover, viewers could observe how artists presented the changing cultural and social backgrounds in a delicate and natural way. Overall, their rich colors and strong lines recorded characteristics of natural landscape in Taiwan truthfully.

1090

楊三郎 (1907-1995)

YANG San Lang

日本艷陽天

Sunny Days in Japan

油彩畫布 1991 簽名左下：s.yang 45.5×53 cm (17.9×20.9 in.)

Oil on canvas 1991 Signed lower left：s.yang Attached gallery certificate

附藝術家親簽之畫廊保證書

signed by artist

NT$ 450,000-600,000 HK$ 119,700-159,700 US$ 15,350-20,460 71

廖德政

LIAO Te Cheng

廖德政1920出生於臺中豐原，自幼個性內向，著迷於音樂、文學閱讀之中，繪畫的天賦也自然流露出來。他的水彩畫作曾得到臺中中學生美展特選，令他對美術的才能產生了自信心。1938年自臺中一中畢業，1940 進入東京美術學校就讀，師事南薰造、安井曾太郎，踏上了他的藝術之路，1946年畢業後返回臺灣發展。1954年與洪瑞麟、陳德旺、張萬傳、金潤作、張義雄六人組合成立紀元美術會，同好之間頻繁的討論及批評，希望脫離主流派的限制，走出自己的理想與特色。廖德政鍾情於臺灣風景，作品往往表現鄉土之美，Lot 1091《柚子》以靜物畫紀錄台灣的土產水果。廖德政曾形容塞尚的靜物畫：「令人感到浩瀚無際的宇宙，而感到自己也漂浮其中。」，在桌上靜物畫系列作品中，可以察覺西洋畫家塞尚與波納爾對其畫風的影響。單純寧靜的畫面藏有藝術家對世界的觀察與領略，廖德政選擇台灣水果，溫暖的色調勾勒出台灣人的純樸生活。

皮耶爾．波納爾Pierre Bonnard 《靜物黃色和紅色》1931 油彩畫布 47×51.8 cm 法國格勒諾布爾博物館藏 73

1091

廖德政 (1920-2015)

LIAO Te Cheng

柚子

Shaddock

油彩畫布 1970-1972 簽名右下：德 1972 畫背簽名：柚廖德政作一九七〇-七二畫背鈐印：文不辨（朱文） 36×43.5 cm (14.2×17.1 in.)

Oil on canvas 1970-1972 Signed lower right: Te in Chinse and dated 1972 Signed on the reverse: shaddock, Liao Te Cheng and 1970-72 in Chinese Literature:

畫背簽名：

出版：

Taipei Fine Arts Museum, Liao Te-Cheng Retrospective

柚廖德政作一九七Ｏ～七二

臺北市立美術館：《廖德政回顧展》（臺北

(Taipei, Taiwan, 1991) , P.36

市，1991年），頁36。

Li Shih-Chiao Museum, Taiwan Art Elite Research

李石樵美術館文化中心：《台灣美術菁英研

Exhibition (Taipei, Taiwan, 1994) , P.42

究展》（臺北市，1994年），頁42。

Lu Yun Lin, Lu Pu Shih and Liao Te-Cheng (Taipei,

呂雲麟：《呂璞石．廖德政雙人展畫集》（臺北市，1987年）。雄獅圖書：《綠野、樂章、廖德政》（臺北市，2004年），頁91。臺北市立美術館：《人生四季：廖德政八十回顧展》（臺北市，2001年），頁76。藝術家出版社：《臺灣美術全集第18卷：廖德政》（臺北市，1995年），頁95。

附藝術家親簽之畫廊保證書

Taiwan, 1987) Hsiung-Shih Art Book, Green Fields, Classics, Liao Techeng (Taipei, Taiwan, 2004) , P.91 Taipei Fine Arts Museum, A Retrospective: Liao Techeng at the Age of Eighty (Taipei, Taiwan, 2001) , P.76 Art Publishing Co., Liao Te-cheng (Taiwan Fine Arts Series No.18) (Taipei, Taiwan, 1995), P. 95

Attached gallery certificate signed by artist

臺北市立美術館：《廖德政回顧展》 NT$ 1,200,000-1,500,000 HK$ 319,300-399,100 US$ 40,930-51,160 74

李石樵

LI Shih Chiao

李石樵1908年出生於台北新莊，1923年考入台北師範學校，當時的美術老師正是石川欽一郎，影響並啟迪李石樵日後的繪畫發展。1929年到東京求學，經三度應試後考入東京美術學校，後因家庭遭逢變故，面對家庭方面與經濟上的巨大壓力，最終努力排除萬難，得以在日本及台灣畫展中嶄露頭角，以七次入選日本帝展、新文展之優異表現，榮獲新文展「無鑑查（免審查）」展出資格，為第一位獲此殊榮的台灣畫家。美術史學者謝里法老師認為：「李石樵在美術運動的階段裏，發揮功能好比一座橋樑，將西洋大師繪畫中的特殊性，釋譯成為普遍性的常理，讓後起的畫家通過它帶到繪畫之可知性領域」，由此可見李石樵對台灣美術界的重要貢獻。

李石樵寫生實景照

Lot 1092《八斗子漁港》完成於1981年，晚年創作觸角更延伸至一般市民生活的表現，繪畫風格更加細膩、舒緩，為自己的創作歷程再創高峰。細膩的刻畫台灣漁港中船隻停泊的樣貌，豔陽下平靜海面與天空的淡藍色，搭配著遠景山巒的青綠，船隻與人物色彩繽紛，冷暖色調交錯及厚薄輕重的筆觸運用，不僅開闊了畫面的視覺空間，更令人心曠神怡，仿如置身當中，點綴於其上的人物生動而活潑，鮮明的風景色彩即是內化後的再現。李石樵：「今日的美術必須要有主題意識，確立自己的目標，從現實中探索美的題材與富有美感價值的藝術。」畫面呈現寫實自然景觀的同時，李石樵對台灣自然之美與土地的情感，致上最高的敬意。

李石樵美術館：《李石樵畫集(1)》，（臺北縣：1996年），頁381。 75

來源：

1092

李石樵 (1908-1995) 八斗子漁港油彩畫布 1981 簽名左下：1981. 石樵 45.5×53 cm (17.9×20.9 in.) 出版：李石樵美術館：《李石樵畫集 (1)》，（臺北縣：1996年），頁381。

LI Shih Chiao Fishing Port of Badouzi Oil on canvas 1981 Signed lower left: named Shih Chiao in Chinse and dated 1981 Literature: Lee Shih Chiao Museum, Lee Shih Chiao Fine Arts Series (1) (Taipei, Taiwan, 1996) , P.381 With certificate of gallery

附畫廊保證書

NT$ 1,100,000-1,300,000 HK$ 292,700-345,900 US$ 37,520-44,340 76

李梅樹

LI Mei Shu

李梅樹生於1902年台灣三峽，自幼喜愛美術，台北師範畢業後；1927、1928年油畫連續入選兩屆台展，隔年考上日本東京美術學校(東京藝術大學前身)；1934年畢業後返台持續繪畫工作，與廖繼春、楊三郎、李石樵、陳澄波等八人成立「台陽美術協會」積極推廣台灣美術風氣，獻身於藝術創作與美術教育之外；1947年起負責三峽祖師廟重建工程，後半生三十六年間無私奉獻，深得後人佩服與敬重。 Lot 1093《薔薇》是李梅樹在1950年擔任第五屆省展審查委員時所出品的畫作，畫中共有40 多朵玫瑰，是他「花」系列作品中最繁盛的一件作品，因而出版成為明信片，相當具有台灣美術史的價值。然而，此畫曾流落坊間，當時台灣畫家作品尚不受重視，即使是省展購藏的作品也經常遭外流，被官員作為禮物贈送，或由教育廳將作品分贈給各級學校懸掛，作品因而往往下落不明。此作幸運的約在1990年重現於畫廊，經由畫

Li Mei Shu was born in Sanxia District, Taiwan, dedicated all himself to fine arts. After graduated from Taipei National Taiwan Normal University, he had been nominated into Taiwan Exposition twice, and successfully applied for Tokyo Fine Arts School (Former Tokyo University of the Arts). He then returned to Taiwan after graduated and kept on painting afterwards. He setup TaiYon Fine Arts Association with Liao Chi-chun, CHEN Cheng Po, LI Shih Chiao, YANG San Lang etc, lighting up the art sphere all around Taiwan, contribute to art education, except for that he take responsibility of re-establishing Zushi Temple at Sanxia, obliged for contribution during his next 36 years, which makes him honorable and respectful. Lot 1093 Roses is the work he painted in 1950 when he served as committee of the fifth inspectional province exposition, which has 40 roses in that work, a very splendid work that even have been converted into post cards in order to increase its own values. Whereas this work had been flown out to nowhere

文森．梵谷Vincent Van Gogh 《劍蘭花

保羅．塞尚Paul Cezanne 《瓶花》1879-82 油

瓶》 1886 油彩畫布 61×46 cm 荷蘭

彩畫布 47×55.2 cm 美國加州巴莎迪那諾頓

阿姆斯特丹梵谷美術館藏

西蒙美術館藏

廊與家屬的合作下，尋回創作的歷史背景，使作品重新展示於眾人眼前。今日能一睹拍品風采實屬難能可貴。李梅樹喜愛花卉，以玫瑰的作品數量最多，兒子李景文形容三峽家中後院種植各類茶花、杜鵑與玫瑰，父親總是親自悉心照料，更顯李梅樹對花卉之喜愛。畫面中心被薔薇與花瓶占滿，構圖簡潔大方，在紅花與綠葉的巧妙布局之下，整幅畫顯得溫潤而優雅。畫中的墨綠色骨董花瓶和暗色桌面，與奔放的花朵互相呼應相得益彰，成功的將薔薇的鮮豔烘托出來，薔薇顏色典雅浪漫，畫面愉悅亦不失高貴之氣，在形態、色澤的把握上，已達極高之境界。

as Taiwan’s artists were not taken credit enough in that period, it was too low-cost to be taken interests in, so that become a low-valued given which once being lost. This piece has been found after its reemerged at gallery later in 1990. Li loves flowers and the most beloved object is rose, his son Li Jin-wen tells the plants at Sanxia’s backyard were all being looking after carefully by his father and this scenario makes his relish on flowers even more apparent. The center of this piece are all occupied with roses and vase, great and clear structure with red flowers and green leaves which is elegance. The dark green over canvas and antic vase and dark desktop as well as the outgoing flowers shows great contrast of bright roses. Roses is colored romantically in order to live its noble on type, color up to the top.

李梅樹的長子李景暘指出，這幅玫瑰花是他的父親為參加第5屆台灣省美展而製作的作品，畫中共有40多朵玫瑰，也是李梅樹在一張作品中畫得花朵數量最多的一件。李景暘手中也僅留有當年省展印製的卡片，多年來，他並不知道作品的下落。南畫廊負責人林復南表示，目前畫廊也在多方蒐集資料，因為這幅作品很可能是早年被省政府購藏，而後卻外流至坊間。早年台灣前輩畫家作品還不受重視，省展購藏的作品外流情事也時有所聞；已過世畫家呂基正生前曾負責省展業務多年，他曾指出，省展的作品被當成禮物外送，或者新聞：簡報【1990-07-09/民生報/14版/文化新聞】前輩畫作下落如謎玫瑰花重現老問題暴露記者黃寶萍/報導由於繪畫市場的蓬勃發展，部分收藏家將手中收藏多年的畫作釋出，使得畫家的一些代表作又重現，然而其中

教育廳將作品分贈給各級學校懸掛，最後作品究竟如何便不得而知。其實，台灣前輩畫家的早期作品，多半更能反映他們在創作歷程上努力的痕跡，而他們更視省展、台陽展為彼此角力的機會，往往提出最好的作品參展。然而作品的流失卻使他們努力的痕跡泯滅，李梅樹的這幅玫瑰花畫作出現，無疑再度提醒整理、發掘這些作品的重要。

卻也暴露前輩畫家作品的保存問題。南畫廊目前舉行「台灣畫家早期佳作選」，作品中有

1990-07-09/民生報/14版/文化新聞

一幅李梅樹的玫瑰花，畫廊原本查不出製作年代，但由於

台灣畫第23輯刊載

畫家家屬提供的資料，才揭開謎底。

1953年第五屆省展審查委員出品 78

1093

李梅樹 (1902-1983)

LI Mei Shu

薔薇

Roses

油彩畫布 1950 簽名右下：梅樹 61×51 cm (24×20.1 in.)

Oil on canvas 1950 Signed lower right: Mei Shu in Chinese Literature:

出版：南畫廊：《台灣畫雙月刊》（臺北市，1996年），頁11。南畫廊：《世界花果集錦》（臺北市，1991年）。臺灣畫第23輯刊載。 1953年第五屆全省美展審查委員參展畫作，並選為第五屆省展出品之明信片。展覽：「世界花果集錦」，南畫廊，台北，1991/09/05 ～ 1991/ 09/28。「新館開幕展前展2-1-南畫廊25年回顧」，南畫廊，台北， 2004/09/18～2004/10/03。新聞：《前輩畫作下落如謎玫瑰花重現老問題暴露》，（民生報-14 版-黃寶萍）。

Nan Gallery, TAIWAN SCHOOL (Taipei, Taiwan, 1996) , P. 11 Nan Gallery, Flower and Fruit Collection of World (Taipei, Taiwan, 1991) Published in the 23rd Series of Taiwanese Paintings Work of The fifth Taiwan Provincial Fine Arts Exihibition Exhibition: “Flower and Fruit Collection of World”, Nan Gallery, Taipei, 1991.9.5-28 "Exhibition 2-1 of the new museum, 25 years of Nan Gallery" Nan Gallery, Taipei, 2001/09/18~2004/10/03 News: "Senior artists' paintings, whereabouts are a mystery, Roses reappear, old problems exposed" (Minsheng Daily, 14th Edition, Huang Baoping)

附畫廊保證書 With certificate of gallery

NT$ 2,600,000-3,500,000 HK$ 691,900-931,300 US$ 88,670-119,370 79

廖德政

LIAO Te Cheng

廖德政1920出生於臺中豐原，自幼個性內

中的和平與永恆，以及人們對土地的感謝。廖德

向，著迷於音樂、文學閱讀之中，繪畫的天賦也

政透過細微的觀察，將瞬間的美好保留於畫作

自然流露出來。他的水彩畫作曾得到臺中中學生

中，將內心的希望和語言，以顏色、線條和一層

美展特選，令他對美術的才能產生了自信心。

又一層生命的堆疊，表達他對生命的熱情與寄情

1938年自臺中一中畢業，1940進入東京美術學

藝術的和平，更有著滿滿對臺灣的熱愛。

校就讀，師事南薰造、安井曾太郎，踏上了他的藝術之路，1946年畢業後返回臺灣發展。1954 年與洪瑞麟、陳德旺、張萬傳、金潤作、張義雄六人組合成立紀元美術會，同好之間頻繁的討論及批評，希望脫離主流派的限制，走出自己的理想與特色。廖德政鍾情於臺灣風景，作品往往表現鄉土之美，Lot 1091《柚子》以靜物畫紀錄台灣的土產水果。廖德政曾形容塞尚的靜物畫：「令人感到浩瀚無際的宇宙，而感到自己也漂浮其中。」，在桌上靜物畫系列作品中可以察覺西洋畫家塞尚與波納爾對其畫風的影響。單純寧靜的畫面藏有藝術家對世界的觀察與領略，廖德政選擇台灣水果，溫暖的色調勾勒出台灣人的純樸生活。 Lot 1094《甘蔗園》是廖德政長時間創作的作

《人生四季：廖德政八十回顧展》

品，描繪自身熟悉的田園景色。此作創作於1970 年代，當時廖德政居住於天母山區，此風景畫回

大地、甘蔗田閃閃發亮，廖德政細膩的處理畫面

出版：臺北市立美術館：《廖德政回顧展》，（臺北市： 1991年），頁51。台中縣立文化中心：《呂璞石．廖德政雙人展》，（臺中市：1989年），頁46。呂雲麟：《呂璞石．廖德政雙人展畫集》，（臺北市： 1987年）。臺北市立美術館：《人生四季：廖德政八十回顧展》，（臺北市：2001年），頁62。雄獅圖書：《綠野、樂章、廖德政》，（臺北市： 2004年），頁20、21。藝術家出版社：《臺灣美術全集第18卷：廖德政》，（臺北市：1995年），頁78。

中的每一部分，懷念故鄉恬靜的風景，也是藝術

Literature:

市場難得一尋的畫家早期風景畫。

Taipei Fine Arts Museum, Liao Te-Cheng Retrospective

顧兒時回憶與成長經驗，家鄉位於台中豐原，其義為豐饒之原，栽種稻米以外也是甘蔗產地的北界，蒼翠青綠的田園景色深深烙印於廖德政的腦海。此作繪出一片被豔陽照射後閃亮的青綠色甘蔗田，土褐色的田間小路伴隨著兩旁青草與樹木，一旁以磚紅色點綴的土地公廟，小徑中為人們推著手推車，也是廖德政第一幅使用人物點景的創作手法。中景則是此幅主角甘蔗田，黃色與綠色一再地堆疊塗抹，呈現秋天暖色光輝下的田野。遠景是朦朧的山巒與晴朗的天空，陽光灑落

「我說：每張畫都是未完成。我發現大自然展現的蓬勃生機，有時強悍無以抗拒，有時則溫馴優美；與其說我創作嚴謹，事實是我對大自然存有敬畏之心。」－廖德政廖德政創作一幅畫經常花費數年時間，他以漫長的時間不斷潤飾畫中情境，調整色調與空間的關係，作品數量不多，其畫風不僅是一種表面

(Taipei, Taiwan, 1991) , P.51 Cultural Affairs Bureau of Taichung, Lu Pu Shih and Liao Te-Cheng (Taichung, Taiwan, 1989) , P.46 Lu Yun Lin, Lu Pu Shih and Liao Te-Cheng (Taipei, Taiwan, 1987) Taipei Fine Arts Museum, A Retrospective: Liao Techeng at the Age of Eighty (Taipei, Taiwan, 2001) , P.62 Hsiung-Shih Art Book, Green Fields, Classics, Liao Techeng (Taipei, Taiwan, 2004) , P.20,21

的寫實，而是更深刻的寫意。他在風景畫裡真正

Art Publishing Co., Liao Te-cheng (Taiwan Fine Arts

想要表現的內涵，並不是景色本身，而是大自然

Series No.18) (Taipei, Taiwan, 1995), P.78

1094

廖德政 (1920-2015) 甘蔗園油彩畫布 1973 簽名右下：德 1973. 背板簽名：甘蔗園廖德政作一九六八～七三 45.5×53 cm (17.9×20.8 in.)

LIAO Te Cheng Sugarcane Field Oil on canvas 1973 Signed lower right: named Te in Chinese,dated 1973 Signed on the reverse: Sugarcane Field, named Liao Te-cheng dated 1968-73 in Chinese

NT$ 1,600,000-2,000,000 HK$ 425,800-532,200 US$ 54,570-68,210

畫背板簽名：甘蔗園廖德政作一九六八～七三 82

LI Shih Chiao

李石樵

李石樵的繪畫以寫實為主，加入立體主義、古典主義的特色，並且著重於思考與理性的圖像表達。1970年代以後，李石樵回歸以自然景物及人體群像為主的畫作，專注於色彩特質與畫面空間的經營，特別是筆觸、明度與彩度的詮釋。李石樵曾說：「每個顏色都有很好的效果、最理想的表達方式，當我們在欣賞其作品之際，強烈的高彩度震懾了我們的視覺域。」 Lot 1095《少女與百合》展現其運用色彩的豐富性和靈活性，黃底綠線的桌巾襯托細緻潔白的瓷器，少女的白衣與百合相互呼應，磚紅色的背景讓主題更顯明艷。少女與百合純潔美好的意象相互結合，是藝術家少見的題材選擇，畫面流露清新與恬靜的氣質、筆法細膩，在透明感與力道的掌握之下，顯現了和諧、娟秀的美感。

1095

李石樵 (1908-1995) 少女與百合油彩畫布 1982 簽名右下：1982 . 石樵 60.5×50 cm (23.8×19.7 in.) 出版：印象畫廊：《向前輩美術家致敬》，（臺北市：1996年），頁80、81。附畫廊保證書

LI Shih Chiao Maiden and Lily Oil on canvas 1982 Signed lower right: named Shih Chiao in Chinse and dated 1982 Literature: Impressions Art Gallery, A Tribute to the Previous Artists (Taipei, Taiwan, 1996), P. 80, 81 With certificate of gallery

印象畫廊：《向前輩美術家致敬》，（臺北市：1996年），頁80、81。 83

NT$ 2,000,000-3,000,000 HK$ 532,200-798,300 US$ 68,210-102,320

1096

邱亞才 (1949-2013) 太陽花油彩畫布 130×97 cm (51.2×38.2 in.) 出版：歌德藝術中心：《邱亞才》，（台中市：2013年）頁207。

CHIU Ya Tsai Sunflower

邱亞才在2005年後開始嘗試靜物主題，靜物主題作品約二十件，可見此作十分珍貴。靜物題材多以花卉為主，此作大膽地使用對比色，火紅的花朵在深綠的襯托下更為熱情奔放，筆法上也較為隨意自由，彎曲交錯的枝葉展現生命力，粗放的筆觸描繪植物的生機勃勃。

Oil on canvas Literature: Goethe Art Center, Chiu Ya-Tsai, (Taichung, Taiwan, 2013) , P.207

NT$ 1,200,000-1,500,000 HK$ 319,300-399,100 US$ 40,930-51,160

Chiu started to attempt still life after 2005; there are nearly 20 pieces of still life by far which are precious. Chiu tends to make efforts on flowers, for this Lot, he boldly contrasts the colors. The red flower can be passionate with dark green based, more, it can be more freely in terms of technique, with the leaves and twigs altogether to highlight the life of his unique describe of plants.

1097

邱亞才 (1949-2013)

CHIU Ya Tsai

旅人

Traveler

油彩畫布 130×97 cm (51.2×38.2 in.)

Oil on canvas Literature:

出版：歌德藝術中心：《邱亞才》，（台中市：2013年）頁70、71。

Goethe Art Center, Chiu Ya-Tsai, (Taichung, Taiwan, 2013) , P.70,71

NT$ 1,800,000-2,600,000 HK$ 479,000-691,900 US$ 61,390-88,670

邱亞才總是以具象的人物來詮釋抽象的人性，在中國歷史、莎士比亞、杜斯妥也夫斯基等大師鉅著的閱讀經驗下，為邱亞才往後從文字獲得的領悟轉注入畫面之中，形塑出獨一無二的人像敘事繪畫。邱亞才筆下的台灣現代文人肖像，受唐代繪畫的影響頗深，如人物的鉤狀鼻、杏眼，鵝蛋臉，身材比例修長，神情流露孤寂、憂鬱、內斂而沈靜。其肖像畫藉由畫筆直嘆人類理性面具下的卑微、傲慢、頹廢與脆弱，細膩優雅中洋溢著文人感懷落寞的氣氛。「當人們看到我的繪畫與小說，就會經常想到人生有痛苦這回事，詮釋人生痛苦的方式有許多種，而我卻是用繪畫與文字語言來表達而已。……我喜歡用意象的人生來寫實，來傳達面對生老病死的感慨，描繪過週邊生活被傷害的小人物，捲近悲劇漩渦時常是我作品中人物的縮影，刻意以冷漠來突顯人生的荒謬與空乏。例如：流浪漢及漂泊者等等。繪畫是自我表述的工具，表達出我內心抑鬱的複雜意識及孤獨的人我關係。」藝術家如是自陳。深藍抑鬱的用色不難使人聯想到畢卡索的藍色時期，同樣以冰冷憂鬱的藍綠色調刻畫人物消瘦孤獨的形象。畫中人物蜷縮的肢體突顯孤單無助的狀態，簡化的背景襯出蒼白的面色，有別於畢卡索畫中的陰沉表情，邱亞才描繪的人物眉目間全是平和淡然，彷彿對世間的無奈與無常皆已看破，沉重的陰鬱情緒化作釋懷的寬容，展現東方文人雅士的修身養性。

Chiu Ya Tsai used human figure to tell the stories of abstract humanity. After reading the masterpieces of Chinese history, Shakespeare, and Dostoyevsky, put the insight he got from the words into his artworks. The style of Chiu in painting portraits has the classical elements inherited from Tang-Dynasty art: faces in his artworks have aquiline nose, almond-shaped eyes, oval face and slender figure. And viewers could feel the loneliness, gloominess in them at the first sight. “When people see my paintings and read my novels, I’m sure my works will make them realize the pain does exist in our lives. There are so many kinds of way to tell the painful stories of human lives, and I choose painting and writing to do so. I prefer telling realistic stories in a metaphorical way. Painting is my tool for conveying myself, and I use it to tell the complexity of my depressed mental state.” Depressing blue is most likely in related to Picasso’s blue period, depicting lean and lone images by those cool gloomy filters. The curled limbs of the figures in the painting highlight the lonely and helpless state, the simplified background sets off the pale complexion. Being apart from the upset description of Picasso’s, Chiu’s portraits seem quite in harmony as if there is nothing to mind about this whole universe, turned deep gloom into mercy, in which to reach the oriental subtlety.

1098

手塚治虫 (1928-1989) 原子小金剛動畫拍攝用手繪賽璐珞原稿＋背景稿顏料賽璐珞片水彩手繪背景紙 22×26 cm (8.7×10.2 in.) 附手稿1張

Osamu TEZUKA “Astro Boy” Animation Shooting with Hand-Painted Celluloid Manuscript + Background Anime Color on celluloid, watercolor on paper With one manuscript

NT$ 70,000-120,000 HK$ 18,600-31,900 US$ 2,390-4,090

1099

田尻智 (b.1965) 精靈寶可夢動畫拍攝用手繪賽璐珞原稿顏料賽璐珞片水彩手繪背景紙 17.5×24.5 cm (6.9×9.6 in.)

Satoshi TAJIRI “Pokemon” Animation Shooting with Hand-Painted Celluloid Manuscript Anime Color on celluloid, watercolor on paper

NT$ 50,000-100,000 HK$ 13,300-26,600 US$ 1,710-3,410

1100

鳥山明 (b.1955) 七龍珠動畫拍攝用手繪賽璐珞原稿＋背景稿顏料賽璐珞片水彩手繪背景紙 24.5×26.5 cm (9.6×10.4 in.) 附手稿1張

Akira TORIYAMA “Dragon Ball” Animation Shooting with Hand-Painted Celluloid Manuscript + Background Anime Color on celluloid, watercolor on paper With one manuscript

NT$ 40,000-100,000 HK$ 10,600-26,600 US$ 1,360-3,410

1101

藤子·F·不二雄 (1933-1996) 哆啦A夢動畫拍攝用手繪賽璐珞原稿顏料賽璐珞片水彩手繪背景紙 22×25 cm (8.7×9.8 in.)

Fujiko F Fujio “Doraemon” Animation Shooting with Hand-Painted Celluloid Manuscript Anime Color on celluloid, watercolor on paper With one manuscript

NT$ 50,000-90,000 HK$ 13,300-23,900 US$ 1,710-3,070

1102

宮崎駿 (b.1941) 魔法公主動畫拍攝用手繪賽璐珞原稿顏料賽璐珞片水彩手繪背景紙 34.5×21 cm (13.6×8.3 in.) 33×20.5 cm (13×8.1 in.)

Hayao MIYAZAKI Miyazaki Hayao Animation Shooting with HandPainted Celluloid Manuscript Anime Color on celluloid, watercolor on paper

NT$ 120,000-160,000 HK$ 31,900-42,600 US$ 4,090-5,460

1103

井上雄彥 (b.1967) 灌籃高手動畫拍攝用手繪賽璐珞原稿＋背景稿顏料賽璐珞片水彩手繪背景紙 22×25 cm (8.7×9.8 in.) 附手稿1張

Takehiko INOUE “Slam Dunk” Animation Shooting with Hand-Painted Celluloid Manuscript + Background Anime Color on celluloid, watercolor on paper With one manuscript

NT$ 50,000-100,000 HK$ 13,300-26,600 US$ 1,710-3,410

1104

櫻桃子 (1965-2018) 櫻桃小丸子動畫拍攝用手繪賽璐珞原稿顏料賽璐珞片水彩手繪背景紙 21×32 cm (8.3×12.6 in.)

Momoko SAKURA “Chibi Maruko Chan” Animation Shooting with Hand-Painted Celluloid Manuscript Anime Color on celluloid, watercolor on paper

NT$ 30,000-70,000 HK$ 8,000-18,600 US$ 1,020-2,390

1105

臼井儀人 (1958-2009) 蠟筆小新動畫拍攝用手繪賽璐珞原稿顏料賽璐珞片水彩手繪背景紙 21.5×25 cm (8.5×9.8 in.)

Yoshito USUI “Crayon Shin-chan” Animation Shooting with HandPainted Celluloid Manuscript Anime Color on celluloid, watercolor on paper

NT$ 40,000-80,000 HK$ 10,600-21,300 US$ 1,360-2,730

1106

齊藤智史 (b.1982) 山妖木雕彩繪 21×46×32 cm (8.3×18.1×12.6 in.)

Satoshi SAITOH Mountain Demon Wooden sculpture

NT$ 120,000-260,000 HK$ 31,900-69,200 US$ 4,090-8,870 93

1982年出生於日本長野縣，2006年畢業於東京設計大學設計學院。多次在日本美術館以及畫廊舉辦個展，作品多以木材進行雕刻，並用日本畫使用的顏料和炙燻技法對其進行著色。藝術家形容每棵樹都住著一位精靈，將精靈的型態具象化進而雕刻出來是他創作的來源，同時著眼於人類記憶的含混和懷舊。近年來，在亞洲迅速流行起來，曾在韓國、台灣展出，深受藏家喜愛。

Satoshi Saitoh was born in Nagano-ken, Japan in 1982 and graduated from Tokyo Designer Gakuin College in 2006. Saitoh has held many solo exhibitions at art museums and galleries in Japan. Most works are carved with wood, and Saitoh applies with Japanese paints and smoking techniques to color. The artist describes that every trees lives an elf and to visualize and sculpt their forms are the source of his creation. In recent years, Saitoh has quickly become popular in Asia and has been exhibited in South Korea and Taiwan and is deeply loved by collectors.

薩爾瓦多．達利

Salvador DALI

達利1904年出生於西班牙東北部加泰隆尼亞，為超現實主義的代表藝術家。在近代藝術史的地位上與畢卡索、米羅齊名，為西班牙近代藝術三大代表人物。達利的作品充滿活力、加上意想不到的變形，其特殊的創作風格描繪出不可思議的超現實世界早已獨樹一格。達利的創作領域極為寬廣，如：繪畫、雕塑、建築、文學、編劇、導演皆有精采演出，其中雕塑無疑是達利作品中最具代表性的藝術創作。 Salvador Dali was born in 1904 in Catalonia in Spain; he was a representative artist of surrealism. He was one of the three Spanish artists, besides Pablo Picasso and Joan Miro to share the same importance in the art history. Dali's works were full of vitality plus unexpected deformations; his special creative style portrayed an incredible surreal world. Dali’s creation field was expansive and included painting, sculpture, architecture, literature, chorographer, film. Among them, sculpture is undoubtedly the most representative artistic creation in Dali's works.

1107

薩爾瓦多．達利 (1904-1989)

神話中刻劃獨角獸的力量與高傲，敘述唯有聖潔的處女能使之順服，此作取材獨角獸與少女的愛情傳說，獨角獸的角刺穿石牆上的心型洞口並滴下鮮血，達利多次以性為主題創作，此作結合神話與性暗示，一旁歇息的赤裸少女更添情慾氣息。

獨角獸

Mythology depicts the power and pride of a unicorn and narrates that only a holy virgin can make it obey. This work is based on the love legend of a unicorn and a girl; the unicorn's horn pierced the heart-shaped hole on the stone wall and blood drop down. Dali has created many times with the theme of sex. This work combines fairy tales and sexual innuendo; the naked girl resting on the side adds an erotic atmosphere.

Unicorn

銅雕塑 1977 限量350件簽名側邊：Dali 47.5×32×57 cm (18.7×12.5×22.4 in.)

Salvador DALI Bronze sculpture 1977 Edition of 350 Signed side: named Dali

NT$ 300,000-450,000 HK$ 79,800-119,700 US$ 10,230-15,350

1108 作品意象源於達利極負盛名的油畫作品《聖安東尼的誘惑》，高聳的方尖碑象徵榮耀與權力，大象極為纖細瘦長的四肢展現達利的超現實主義，同時諷刺享有越高的權力，位置也越岌岌可危。 The image of the work is derived from Dali’s prestigious oil painting The Temptation of St. Anthony . The tall obelisk symbolizes glory and power, and extremely slender limbs of an elephant show Dali's surrealism. At the same time, it is an irony that the more power one enjoys, the more precarious one’s position is.

薩爾瓦多．達利 (1904-1989) 太空象青銅失蠟工藝雕塑限量350件簽名側邊：Dali 44×22×84 cm (17.3×8.6×33 in.)

Salvador DALI Space Elephant Bronze sculpture Edition of 350 Signed side: named Dali

NT$ 280,000-400,000 HK$ 74,500-106,400 US$ 9,550-13,640

1109

朱銘 (b.1938) 太極系列－單鞭下勢、十字手、推手（三件一組） 2015、2018、2018 不飽和聚酯樹脂碳酸鈣油性色母限量300件 28.5×14.4×18.2 cm、25×12.2×24.5 cm、25.3×16×26 cm (11.2×5.6×7.1 in.、9.8×4.8×9.6 in.、9.9×6.2×10.2 in.) 附朱銘美術館開立之限量複製品證明書

Taichi Series-Single Whip、Underarm Strike、Push Hands (Set of 3) 2015、2018、2018 Unsaturated polyester resin, calcium carbonate, oil color paste Edition of 300 Attached the certificate of limited reproduction issued by Juming Museum With original box

附原包裝盒

NT$ 400,000-600,000 HK$ 106,400-159,700 US$ 13,640-20,460

位於新北市金山的朱銘美術館在1999年成立，本為存放朱銘大型雕塑作品，後因作品漸多，便決議成立美術館，前後興建、規劃長達12年，是為台灣最大的戶外美術館，除了大型雕塑，館藏展覽室也有豐富作品，更致力於藝術文化推廣之發展。Lot 1109《太極系列－單鞭下勢、十字手、推手（三件一組）》由朱銘授權，朱銘美術館所

The Ju Ming Museum in Jinshan, New Taipei City, Taiwan was established in 1999. It was originally designed to store Ju Ming's large-scale sculptures. After the work was gradually increased, the museum was established. It was built and planned for 12 years. It is the largest outdoor art museum in Taiwan. Except for large ones, sculptures, collections and exhibition rooms also have rich works, and are more committed to the development of art and culture. Lot 1109 Taichi Series-Single Whip, Underarm Strike, Push Hands (Set of 3) close to the original ones.

發行之全球限量品，在保存與發揚藝術的同時，朱銘美術館保有對朱銘作品最完整且詳盡的研究與分析，終能使此作接近原型呈現。英國美術史學家蘇利文（Michael Sullivan，b. 1961）：「太極是一種兩人對拆過招的武藝。太極致勝之道，常是以退為進，以靜制動。太極對打如同兩個對拆的個體，精力在他們之間流轉，像一股強大的電源，相生相剋。陰陽之道不再蘊於單一的個體，而呈現於兩個對手間的相互關係裡…對手間的推力與張力成了力道的來源，像是一股磁力把他們連接在一起。朱銘的作品濃烈地表達了深藏的力量。」即可看出朱銘作品，不單止於中國傳統藝術，在太極的相對應下，正反、相剋、相吸的觀點，確實是世界通用且持續討論的生命哲理。

JU Ming

British art historian Michael Sullivan (b. 1961) once said: "Taichi is a martial art of two people who have dismantled the trick. The way to win Taichi is often to retreat to static braking. Taichi is like two Individuals who are dismantling, energy flows between them, like a powerful power source, and each other. The yin and yang are no longer in a single individual, but in the interrelationship between two opponents... Tension has become a source of strength, like a magnetic force connecting them together. Ju Ming’s works strongly express the power of deep possession.” It can be seen that Ju Ming’s works are not only related to Chinese traditional art, but also corresponded in Taichi. The view of positive and negative and attracting is indeed the philosophy of life that is universal and continuously discussed.

100

1110

Yoshitomo NARA

奈良美智 (b.1959)

Original Manuscript

原書手稿

Marker pen on paper

油性筆紙本簽名：な' 2002 18×12.4 cm (7.1×4.9 in.)

Signed: Na in Japanese, and dated 2002 Attached Original Book: Gentosha Comics Inc.: Argentine Hag, Tokyo,

附原書：幻冬舍：《阿根廷婆婆》，東京，2002。

Japan, 2002

NT$ 100,000-160,000 HK$ 26,600-42,600 US$ 3,410-5,460

1112

1111

宮崎駿 (b.1941)

Hayao MIYAZAKI

手塚治虫 (1928-1989)

Osamu TEZUKA

龍貓

Totoro

森林大帝

Jungle Emperor

油性筆紙本簽名下方：みやざきはやお 09.12.10 27×23.7 cm (10.6×9.3 in.)

Marker pen on paper

油性筆紙本簽名：手塚治虫 26.9×23.7 cm (10.6×9.3 in.)

Marker pen on paper

附畫廊保證書

With certificate of gallery

Signed lower: Hayao Mizayaki in Japanese

Signed: Osamu Tezuka in Japanese

09.12.10 附畫廊保證書 With certificate of gallery

NT$ 80,000-150,000 HK$ 21,300-39,900 US$ 2,730-5,120 101

NT$ 100,000-160,000 HK$ 26,600-42,600 US$ 3,410-5,460

1113

手塚治虫 (1928-1992) 緞帶騎士油性筆紙本簽名左側：手塚治虫 26.5×23.5 cm (10.4×9.3 in.) 附畫廊保證書

Osamu TEZUKA Ribbon Knight Marker pen on paper Signed left: Osamu Tezuka in Japanese With certificate of gallery

NT$ 80,000-150,000 HK$ 21,300-39,900 US$ 2,730-5,120

1114

1115

宮崎駿 (b.1941)

Hayao MIYAZAKI

手塚治虫 (1928-1989)

Osamu TEZUKA

龍貓

Totoro

原子小金剛、阪神虎

Astro Boy, Hanshin Tigers

油性筆紙本簽名下方：みやざきはやお 2014.3.2 27×23.7 cm (10.6×9.3 in.)

Marker pen on paper

Mizayaki 2014.3.2

油性筆紙本簽名左下：手塚治虫 27×23.7 cm (10.6×9.3 in.)

With certificate of gallery

附畫廊保證書

With certificate of gallery

Signed lower: Hayao

Signed lower left: Osamu Tezuka in Japanese

附畫廊保證書

NT$ 80,000-160,000 HK$ 21,300-42,600 US$ 2,730-5,460

NT$ 80,000-160,000 HK$ 21,300-42,600 US$ 2,730-5,460 102

1116

艾未未 (b.1957) 藝術家之手電鍍聚氨酯樹脂限量1000件簽名底部：Wei Ai 10×11×13 cm (3.9×4.3×5.1 in.) 附原包裝盒

AI Weiwei Artist's Hand Plating Polyurethane resin Edition of 1000 Signed bottom：Wei Ai With original box

艾未未 (b.1957) 奧德賽版畫 2017 限量1000件 91.4×61 cm (36×24 in.)

AI Weiwei Odyssey Print 2017 Edition of 1000

NT$ 150,000-200,000 HK$ 39,900-53,200 US$ 5,120-6,820

103

王攀元

WANG Pan Youn

水墨傳承著中國悠久的歷史。王攀元對水墨的感情，反映了汲取中國文化的驕傲，也是對家鄉的想念。在《孤獨情深》一書中記錄了王攀元水墨不被世人熟知的一面：「其中水墨，除了民國七十六年在台北雄獅畫廊舉辦過一次個展外，卻不曾再展出過，原因是有個畫水墨的江蘇同好私下向他表示『你學的是西畫，展展油畫、水彩就可以了，水墨讓我來就好。』為了給別人生存空間，自此不再舉辦水墨展覽。…事實上，所有創作媒材中，王攀元對水墨最有感情，他說，那才真正是中國人的東西。」抹去色彩，獨留黑灰白的世界，更聚焦在每一痕墨跡，王攀元精煉嫻熟的筆劃，描摹一幅幅風景，收放自如的筆觸，變化萬千的墨色，天地山水巧妙浮於紙上。王攀元曾在札記寫下：「所謂畫盡意在，就是用最小限度的表現手段，獲得最大限度的表現效果。換言之，即意到筆不到。」王攀元的水墨畫完美重現了此段話，畫面大面積的留白營造靜思的空間，率性豪爽的墨筆直抒胸臆。王攀元 1949年來台後便不曾返鄉，濃得化不開的鄉愁成為紙上的墨，懷念遠方的家鄉故人，感慨昔日的徬徨困苦，走過的漫漫長路，都將化作紙上的墨印，永久珍藏。

104

構圖視角由高處向下俯視，觀者仿佛一同置身於山巒之中，從高峰上遠眺此景，造境高遠且耐人尋味。此作被選為《2016宜蘭縣美術學會會員展》邀請函封面，高低起伏的曲線喚起了層層山脈，賦予畫面中的山水生機和活力，師法自然，表現人與自然之間的聯繫，融匯成心靜氣和之佳作。《2016宜蘭縣美術學會會員展》邀請函封面 2016 Art Society of Yilan Exhibition Invitation Cover

1118

1117

WANG Pan Youn

王攀元 (1912-2017)

WANG Pan Youn

王攀元 (1912-2017)

Tranquil Mountains

眾梅幽香

Fragrant Plum Flowers

山巒靜謐

Ink on paper

紙本水墨立軸鈐印：王攀元印（朱文） 68.5×69.8 cm (27×27.5 in.)

Ink on paper

紙本水墨鏡框鈐印：王后（白文） 69.5×34 cm (15.7×13.3 in.)

With proof of purchase

檢附購買證明

NT$ 80,000-150,000 HK$ 21,300-39,900 US$ 2,730-5,120

檢附購買證明

NT$ 80,000-180,000 HK$ 21,300-47,900 US$ 2,730-6,140

With proof of purchase

1119

王攀元 (1912-2017)

WANG Pan Youn

遠山

Distant Hills

紙本水墨鏡框鈐印：王攀元（朱文） 54×45 cm (21.2×17.7 in.) 出版：王攀元：《王攀元水墨畫集》，（臺北縣：2005年），頁31。檢附購買證明

105

Ink on paper Literature: Wang Pan Youn, WANG Pan Youn Ink Painting (Taipei, Taiwan, 2005), P.31 With proof of purchase

NT$ 80,000-160,000 HK$ 21,300-42,600 US$ 2,730-5,460

躍然於畫紙上的獨有山巒與小舟，並不顯得單調乏味，反而多了份不同意義的超凡脫俗，此作收錄於《王攀元水墨畫集》。畫面上方的黑墨渲染成山巒，高低起伏綿延不絕，此外巧妙的破墨法，模糊了山底的界線，漸層的墨色宛如氤氳瀰漫群山，山巒在雲霄中若隱若現。右下角以素筆勾勒小舟，倆相呼應，呈現遠近對比的空間感，留白處的浩渺，洗滌塵世間的紛紛擾擾。

王攀元：《王攀元水墨畫集》，（臺北縣：2005年），頁31。

1120

王攀元 (1912-2017) 擬元人筆意-空山橫碧落紙本水墨立軸鈐印：王攀元（白文） 182×91 cm (71.6×35.8 in.) 檢附購買證明

WANG Pan Youn Painting After Yuan Dynasty Masters Ink on paper With proof of purchase

NT$ 580,000-1,200,000 HK$ 154,300-319,300 US$ 19,780-40,930 拍品為目前市場所見最大王攀元水墨畫，應即《孤獨情深》中所述的「百萬元大畫」。此作有元代山水代表畫家倪瓚 (1301-1374)筆意，實屬珍貴，畫中空白便是不語詩，空中有靈氣，疏中有秀氣。拍品即臨摹倪瓚獨有的空疏之美。遠景描摹氤氳蒼茫的崖壑，細筆勾勒出山壁的輪廓，並以濃淡層次的墨色皴擦，表現岩壁的肌理；近景描繪奇石樹木，率真的筆觸勾勒出巨石，富含律動的線條體現枝幹的彎曲延伸。布局雖上下分隔，留白處安排適宜，連結畫面的結構及空間，高絕山勢自雲霧中穿出，更顯山色之清幽高曠，空靈疏秀的景致，如真似幻地呈現在觀者面前。參考：

吳鏡汀《擬倪王山水》 1938 水墨紙本立軸 65×35.5 cm 106

1121

王攀元 (1912-2017) 母子情深水彩紙簽名左上：W.P.Y 1976 26.2×28.8 cm (10.3×11.3 in.) 檢附購買證明

西元1914年王攀元三歲，父親因病去世，1924 年十三歲母親不幸辭世，1973年王攀元身體健康情形不佳，申請學校退休，專心於繪畫。此作品，以

107

WANG Pan Youn Deep Bond between Mother and Son Watercolor on paper Signed upper left: W.P.Y 1976. With proof of purchase

NT$ 160,000-350,000 HK$ 42,600-93,100 US$ 5,460-11,940 畫面模糊手法，追憶五十二年前母親的早逝，緬懷母子情深。王攀元水彩作品落年款僅見二張，此為第三次出現。

1122

王攀元 (1912-2017)

WANG Pan Youn

內斂墨荷

Restrained Lotus

紙本水墨鏡框鈐印：王后（白文） 40×70 cm (27.3×27.5 in.)

Ink on paper

檢附購買證明

NT$ 80,000-120,000 HK$ 21,300-31,900 US$ 2,730-4,090

With proof of purchase

1122 1123

王攀元 (1912-2017)

WANG Pan Youn

傲空放青舟

Canoe under Immense Sky

紙本水墨立軸鈐印：攀元（朱文） 137.5×70 cm (54.1×27.5 in.)

Ink on paper

檢附購買證明

NT$ 80,000-250,000 HK$ 21,300-66,500 US$ 2,730-8,530

With proof of purchase

本拍品為王氏十才大畫，存世數量不多。

1124

王攀元 (1912-2017)

WANG Pan Youn

閒情養志

Leisure

紙本水墨立軸鈐印：攀元（朱文） 52×74 cm (20.5×29.1 in.)

Ink on paper

檢附購買證明

NT$ 80,000-120,000 HK$ 21,300-31,900 US$ 2,730-4,090

With proof of purchase

1123

108

蓉子《蘭陽平原》從蘭陽平原這隻初醒的眼睛去探視寶島美麗的丰采大批的綠迎面而來從平原從山崗層巒疊翠就不見山底蒼褐只見綠色錦緞密密地裹住那深山夢谷更接壤明淨的藍天山在左海在右我和山海作壯闊的三人行

穿松濤與波濤的涼風等你成長等你成熟等著你全然成長後的姣好

看深青色的海水這般森冷縱然岩石們日日觀望也看不透太平洋的深和廣！

平原是一望無際的蔥翠稻田是整塊潤澤的綠玉鋪就且鑲嵌大片純金色的陽光風起時便湧起可愛的翠浪......

在山和海之間的蘭陽平原依然是純樸清新的早晨再過去是蘇花公路疊起的高潮以及光輝炙人的正午

故鄉是埋藏記憶的根柢，家的意象包括人也包含土地。是故Lot 1125《蘭陽平原》與其說是紀錄平原的樣貌，不如說是掏挖王攀元的記憶深處，與家鄉緊緊連在一起的臍帶。王攀元一生有兩個家，出生於江蘇，安居於宜蘭，在日記中對兩地的平原都有所紀錄，回憶江蘇：「我家房舍……門前是一望無際的平原，那遼闊的空間，令人開拓胸襟。」關於宜蘭「有時我乘北宜公路的車在車窗中遙望著蘭陽平原田野，簡直就是我的第一故鄉的翻版啊！有時我會情不自主的叫一聲，這才是我真正的家嗎？」顯見平原田野正是牽起兩個故鄉的橋樑，是王攀元畢生的重要羈絆。後半生僻居蘭陽平原長達五十餘載，在蘭陽平原上，蘭陽溪不僅灌溉稻作田地，也豐富王攀元的創作泉源。立於畫作前，那片無邊際的綠開展於眼前，從龜山島佇立的太平洋而來的海風氣息，一路吹進平原海岸、城鎮田野，翻越山脈來到面前。如同詩人蓉子寫《蘭陽平原》，利用層出不窮的色彩語彙形容山海景致，王攀元也同樣運用豐富多變的綠色捕捉蘭陽平原的美景。王攀元的作品向來乍看色彩單一，實則卻深不可測，將觀者吞沒在寂靜與靜止之中，這世界彷彿只剩下了自己和一望無垠的平原，孤獨而自在，如蘭陽之平靜，如故鄉之寧遠。不動聲色的情感流淌於畫布上，壓抑而沉寂的色調，緩慢敘說王攀元與家鄉的點點滴滴，一同經歷了時間的沖刷，綠野平原是嚮往也是歸返，或許王攀元一直都記得那襲面而來平原的呼吸。

109

約翰．亨利．塔胥曼John Henry Twachtman 《五月朦朧的早晨》 1899 油彩畫布 63.8×76.1 cm 史密森尼美國藝術博物館藏

1125

王攀元 (1912-2017)

WANG Pan Youn

蘭陽平原

Lan-Yang Plain

油彩畫布簽名右下：P.Y. 60.5×72.5 cm (23.8×28.5 in.)

Oil on canvas Signed lower right: P.Y. With proof of purchase

檢附購買證明

NT$ 1,200,000-2,000,000 HK$ 319,300-532,200 US$ 40,930-68,210

110

1126

王攀元 (1912-2017)

WANG Pan Youn

翔鷗遠赴

Gulls Flying Far

紙本水墨鈐印：王攀元 (白文) 34×35 cm (13.4×13.8 in.)

Ink and color on paper

檢附購買證明

NT$ 60,000-180,000 HK$ 16,000-47,900 US$ 2,050-6,140

此作氛圍恬淡宜人，嫻熟的運用墨色深淺描繪江水波紋，波光粼粼，自然且別緻，輕巧小帆遊走其間，依稀可見流動的水痕，

下方巧妙安排一鷗振翅高飛，畫面上多了動勢，動靜間遙相呼應，意境上更為自由愜意。

With proof of purchase

1127

王攀元 (1912-2017) 黑山白水紙本水墨立軸釋文：一帆風順 63×68 cm (24.8×26.8 in.) 檢附購買證明

WANG Pan Youn Ink Mountains Silk River Ink on paper With proof of purchase

NT$ 50,000-120,000 HK$ 13,300-31,900 US$ 1,710-4,090

111

簡單明快，一黑山挺立於畫面左下角，一舟橫列於山腳下，以曲折單線說明山腳下的空間，左山低處以乾渴之筆暗示餘脈的存在。畫面張力強烈，以線條塊面元素組成，水平垂直斜線羅列，捨棄傳統用筆皴法，大肆塗寫山之氣魄，彷彿寫盡山的雄渾而不止。小船靜泊，訴說著江水的渺渺

無盡。黑山白水之崇高曠遠，對比枯筆小船之簡陋短暫，似乎映射了畫家對宇宙恆河浩瀚和人生短促如螻蟻之感悟。此外，王攀元別具匠心，在畫面左下角題了「一帆風順」四個字，若隱若現，化文字為奇崛的景緻，可謂筆在意先。

1128

王攀元 (1912-2017)

WANG Pan Youn

流光氤氳

Enshrouding Lights

水彩紙 1962 鈐印：王攀元（白文）畫背題記：1962 18.3×20 cm (7.2×7.9 in.)

Watercolor on paper 1962 Signed: a seal of the artist With proof of purchase

檢附購買證明

NT$ 60,000-150,000 HK$ 16,000-39,900 US$ 2,050-5,120

畫背題記：1962 1129

王攀元 (1912-2017)

WANG Pan Youn

日出晴朗

Cloudless Sunrise

水彩紙 1978 簽名右下：P.Y. 畫背簽名：王攀元一九七八畫背鈐印：王攀元（白文） 18.8×20.2 cm (7.4×8 in.)

Watercolor on paper 1978

檢附購買證明

With proof of purchase

Signed lower right: P.Y. Signed on the reverse: Wang Pan Youn in Chinese, 1978

NT$ 80,000-160,000 HK$ 21,300-42,600 US$ 2,730-5,460

紅日一向是王攀元經常描繪的符號，2001年在國立歷史博物館的王攀元九十自選展，也以「攀圓追日」命名，追日的傳說源於夸父，馬不停蹄且孤獨的身影如同王攀元一生的寫照，天邊紅豔豔的太陽宛

如王攀元對繪畫與生命的熱忱，永不停息的發光發熱。拍品以對角線構圖突出空間，一丸紅日佔據左上方，與右下方山稜兩相遙對，透過對比強調意境，也以對比色彩加深紅日印象。

112

1130

王攀元 (1912-2017)

WANG Pan Youn

大地回生

Calligraphy

灑金箔黃色宣墨書鏡框釋文：大地回生款文：王后敬題

Ink on paper

鈐印：王（白文） 63×21.5 cm (24.8×8.4 in.) 檢附購買證明

With proof of purchase

NT$ 25,000-60,000 HK$ 6,700-16,000 US$ 850-2,050

1131

王攀元 (1912-2017) 靜謐安和紙本水墨立軸鈐印：攀元（朱文） 77.5×61.9 cm (30.5×24.3 in.) 檢附購買證明

113

WANG Pan Youn Quietude Ink on paper With proof of purchase

NT$ 80,000-180,000 HK$ 21,300-47,900 US$ 2,730-6,140

1132

王攀元 (1912-2017) 卜居靜美紙本水墨鏡框鈐印：攀元書畫（白文） 57×34 cm (22.4×13.4 in.) 檢附購買證明

WANG Pan Youn Silent Residence Ink on paper With proof of purchase

NT$ 60,000-100,000 HK$ 16,000-26,600 US$ 2,050-3,410

1133

王攀元 (1912-2017) 漫步心語水彩紙鈐印：王攀元印（朱文） 39×54.5 cm (15.4×21.5 in.) 檢附購買證明

WANG Pan Youn Wandering Watercolor on paper Signed: with one seal of the artist With proof of purchase

NT$ 330,000-500,000 HK$ 87,800-133,000 US$ 11,250-17,050

114

作者：王攀元

畫題：人体材質：油画

《上邪》

尺寸：八号人体

上邪我欲與君相知長命無絕衰山無陵江水為竭冬雷震震夏雨雪天地合乃敢與君絕

畫背標簽

56萬著名的漢朝樂府民歌見證了愛情的誓言，濃烈的情感、堅定的信念以及火焰般的激情，描述了女子對情郎的忠貞不渝，以此比擬王攀元與季竹君的愛情故事，可謂再適合不過。王攀元與季竹君的相遇是命中註定、一見鍾情，如張愛玲言「於千萬人之中，遇見你所遇見的人；於千萬年之中，時間的無涯荒野里，沒有早一步，也沒有晚一步，剛巧趕上了。」諷刺的是兩人的別離同樣是命運無情的作弄，戰爭的炮火響徹雲霄，紛亂的時代一刀斷絕了兩人的情緣，遺留下的僅有畫布上的一抹紅色倩影。在漫長的歲月中苦苦等候，Lot 1134 《與君相知》是王攀元的一個夢，也是長久以來的慰藉，季竹

115

王攀元親筆題簽

君是一直刻在記憶裡的存在，於王攀元是一輩子忘記不了的愛人，無奈兩人僅能在夢中相會，在畫中相思。畫中紅色的身影不單單是愛慕的情懷，更揉雜著對故鄉的懷念，與對年少時代的想念，時代是如此的沉重，僅在晚年方得片刻追憶過往。蔣勳曾形容「王攀元的世界也許並不巨大，在狹小而孤獨的偏僻市鎮一角，他和荒涼的海灘對話，和踽踽獨行的狗對話，和偶然的天際的流雲對話，或者，更多的時間，王攀元只是在畫布上和自己對話罷。」此刻他也在畫布上

畫面單純，三分之一近景為一紅色裸女橫躺，畫面三分之二呈現大片黑色空間。紅色裸女面無表情如山水般永恆靜靜橫躺，彷彿一股熾熱的永恆的思念存在；暗黑色的空間如后土承載著巨大的哀思。冷靜的黑團團圍住熾熱的紅，沉穩的紅也只能靜靜地攝收著滿腔熱血，熱血在軀體中流淌著，高高低低，呢喃著無盡沉重的思念!畫面簡單表現出畫家情感的內斂，更顯現畫家成熟的藝術表現。

與昔日的自己對話，此情可待成追憶，只是當時已惘然，一切的惆悵也都只能落在筆尖。

※互見Lot 1061王攀元《長相思》。

1134

王攀元 (1912-2017)

WANG Pan Youn

與君相知

Never Forget You

油彩畫布簽名右下：P.Y. 45.5×38 cm (18×15 in.)

Oil on canvas Signed lower right：P.Y. Wang Pan Yaun's handmade cypress frame

王攀元手作檜木原框 With proof of purchase 檢附購買證明

NT$ 600,000-1,200,000 HK$ 159,700-319,300 US$ 20,460-40,930 116

亞歷克斯•菲斯

Alex Face

Alex Face出生泰國，本名Patcharapon Tangruen。曾就讀於曼谷的先皇技術學院（King Mongktut Institute of Technology），修習建築學專業，對建築濃厚的興趣深深影響他在日後的創作靈感。Alex Face注意到曼谷的街頭和許多廢棄的場景，促使他利用公共空間裡的牆面作為畫布，嘗試創作一系列塗鴉作品，因此打響了他 Alex Face作為街頭藝術家的名號。Lot 1135《青銅雕像》Lot 1135《粉紅兔寶寶》造型為Alex Face創作的標誌性人物，名為Mardi，靈感來自於女兒的出生，Alex Face回憶與女兒的初次見面，「當我用雙手抱起我的女兒時，她的臉上寫滿了憤怒和擔憂，也許是她並不願意成為我的女兒，或者不想來到這個世界，可能是所有剛出生的嬰兒都會有這樣的表情吧。」這份感觸促使他開始思考，作為父母應該怎麼做才能為女兒創造一個更好的未來，個人的情感經驗透過作品傳遞給世界，提醒世人思考並為後代著想。而Mardi身上的兔子裝扮，象徵孩童的天真可愛，卻也暗喻著孩童在社會處於弱勢者的角色，作品藉此連結更多孩童相關的社會議題。而角色頭上的第三隻眼， Alex Face形容它扮演暗中的觀察者，沉默見證社會的悲劇，同時第三隻眼也源自東南亞的傳統信仰，相信有些事物非肉眼可見，只能透過感知察覺，Alex Face期望自己的創作也能觸碰那些無法被看見的事物。

117

Thailand native Alex Face (born Patcharapol Tangruen) studied architecture at Bangkok’s King Mongktut Institute of Technology and graduated with a Bachelor’s Degree in Fine and Applied Arts. His strong interest in architecture led him to explore the streets and alleys of Bangkok for abandoned buildings, buildings that he eventually used as a canvas to develop his street art and the medium of choice for his creative expression. Then Alex Face became a well-known graffiti artist, and both Lot 1135 Bronze statue and Lot 1135 BABY RABBIT are his signature characters called ‘Mardi’. ‘Mardi’ was inspired by the birth of his daughter and the confusing mood she left him upon her arrival into this world. Alex Face remembered how they first met, “The first time I saw her, she looked angry or worried. I thought are you not happy to be my daughter? Are you not happy to be in the world? Perhaps all newborn babies share such expressions.” It had caused Alex to consider how to create a better world for his daughter as a parent. Personal experience and emotion are transmitted to the world through his works, and remind people to think about future generations. Mardi’s rabbit suit not only symbolizes the innocence of children, but also implies children a disadvantaged role in society. Thus, Alex Face’s works connect more social issues related to children. As for the third eye in the middle of Mardi's forehead, Alex Face describes that it acts as a secret observer to witness tragic events in society. Besides, the third eye derives from traditional beliefs in Southeast Asia, which believes something we can only feel but cannot see. Alex Face considers himself an artist with a social conscience, so he hopes that his creation can touch the spiritual and unknown realm.

1135

ALEX Face (b. 1981)

ALEX Face

二件一組

Set of 2

A：青銅雕像

A: Bronze statue

銅雕限量25件簽名底部："Alex Face" 12/25 28.5×23×22.5 cm (11.2×9.1×8.9 in.)

Bronze sculpture Edition of 25 Signed bottom: "Alex Face" 12/25 With original box

附原包裝盒

B：粉紅兔寶寶

B: BABY RABBIT (Pink Editions)

寶麗石粉樹脂限量90件 12×14×30 cm (4.7×5.5×11.8 in.)

Polystone Edtion of 90 Certificate issued by MIGHTY JAXX

附MIGHTY JAXX開立之保證書 With original box

NT$ 150,000-180,000 HK$ 39,900-47,900 US$ 5,120-6,140

附原包裝盒

1136

山本源 (b.1981)

Yoskay YAMAMOTO

沉入水中的(男孩)

Submerged Boy

木雕壓克力 2018 限量200件 H:30 cm (11.8 in.)

Wooden sculpture, acrylic 2018 Edition of 200 Certificate issued by APPortfolio

附APPortfolio開立之保證書 With original box 附原包裝盒

NT$ 25,000-50,000 HK$ 6,700-13,300 US$ 850-1,710 118

1137

KAWS (布萊恩．唐納利) (b.1974)

KAWS (Brian Donnelly)

KAWS絲巾

KAWS Silk scarf

真絲與莫代爾混紡限量100件 130×130 cm (51.2×51.2 in.)

Silk and modal blend Edition of 100 Attached original certificate

附原作保證書

NT$ 130,000-180,000 HK$ 34,600-47,900 US$ 4,430-6,140 119

空山基

Hajime SORAYAMA

1947年出生日本，1967年正式進入美術學院學習，學生時代即展現出色的藝術天賦。1969 年被廣告公司雇用成為插圖畫家，1972年成為獨立自由插圖畫家，1978年筆下誕生出第一個機器人，1983年Sexy Robot系列作品使他聲名大噪。空山基的作品精緻唯美，想像力豐富，技法精湛，完美呈現女性的樣貌，因多件女性機器人作品色情意味濃重，故被譽為日本情慾機械藝術大師。作品極具現代未來感，利用金屬光澤表現在各種形體上。2009年與KAWS(b.1974)推出No future companion，2019與美國前衛藝術家丹尼爾．阿沙姆(Daniel Arsham, b.1980)合作展覽於日本東京，機械科幻與侵蝕斑駁的衝突驚艷眾人。空山基的熱潮跨及插畫、電影、時尚圈，2014 年，空山基受電影《星際大戰》製作人喬治盧卡斯(George Walton Lucas Jr., b.1944)邀請設計電影中的外星角色，2019年Dior於成都太古里舉辦之時裝秀，邀請空山基設計大型性感機器人，作為燈光表演之展場主視覺。

Hajime Sorayama was born in Japan in 1947, and had showed his outstanding artistic talents during his study at Tokyo's Chuo Art School since 1967. In 1969, Sorayama was appointed by an advertising agency as illustrator. Then he became a freelance illustrator in 1972 and drew his first robot in 1978, and Sorayama became renowned by Sexy Robot series in 1983. Hajime Sorayama’s works are known for his precise details, rich imagination, professional skills, and perfect depictions of women's appearance. Due to works of robotized women in erotic poses, Hajime Sorayama has been considered an erotic mechanical master in Japan. Sorayama’s works are modern and futuristic based on metallic materials. Sorayama present No future companion with KAWS (b.1974) in 2009. In 2019, Sorayama held an exhibition with American contemporary artist Daniel Arsham (b.1980) in Tokyo, the conflict between mechanical robots and eroded texture amazed the audience. Hajime Sorayama’s popularity spans illustration, film, and fashion. In 2014, Hajime Sorayama was invited by George Walton Lucas Jr. (b.1944), producer of Star Wars, to design alien characters in movie. In Dior’s 2019 Collection Event at Chengdu Taiguli, China, Sorayama was invited to design a big sexy robot as key vision and hold a light show.

120

1138

空山基 (b.1947) 性感機器人鋼限量400件雕塑：45.5×9×8 cm (17.9×3.5×3.1 in.) 底座：22×22×10 cm (8.7×8.7×3.9 in.) 附原包裝盒

Hajime SORAYAMA Sexy Robot Steel Edition of 400 With original box

NT$ 200,000-360,000 HK$ 53,200-95,800 US$ 6,820-12,280

121

1139

空山基 (b.1947)

Hajime SORAYAMA

未來米奇（三件一組）

Future Mickey (Set of 3)

鋅合金 2004 限量1000件 25×25×35 cm (9.8×9.8×13.7 in.)×3

Zinc alloy 2004 Edition of 1000 Trademark:

附原包裝盒

NT$ 300,000-500,000 HK$ 79,800-133,000 US$ 10,230-17,050

空山基也曾與多位知名藝術家合作，2005 年為慶祝迪士尼（Disney）重要角色米老鼠（Mickey Mouse）誕生的75週年，玩具廠牌 MEDICOM 特別與空山基合作，推出限量1000隻的Lot 1139《未來米奇Future Mickey》，慶祝這重要的一刻。Future Mickey共有三種版本：鍍金銀的初回限量版，電鍍銀加紅黑色的米奇配色彩版，以及金屬原色的第三個Retro版本，三件一組實屬難得。

Sorayama has cooperated with many famous artists, for example, to celebrate the 75th anniversary of the birth of Disney's important character Mickey Mouse in 2005, the toy manufacturer MEDICOM specially cooperated with Sorayama to launch the Lot 1139 Future Mickey , a limited edition of 1000 pieces, to celebrate this important moment. There are three versions of Future Mickey: the first limited edition of gold-plated silver, the color version of Mickey with electroplated silver and red and black, and the third Retro version of metallic primary colors, a set of three is really rare. 122

1140

空山基 (b. 1947) 衝浪手混合物料合金限量500件 48×50×52 cm (18.9×19.7×20.5 in.)

Hajime SORAYAMA ROBOT SURF Mix material, Alloy Edition of 500

NT$ 180,000-220,000 HK$ 47,900-58,500 US$ 6,140-7,500

1141

空山基 (b. 1947) 霸王龍軟膠 2019 限量1000件 20.3×63.5×12.7 cm (8×25×5 in.) 附原包裝盒

Hajime SORAYAMA T-Rex Cyborgs Soft Vinyl 2019 Edition of 1000 With original box

NT$ 40,000-70,000 HK$ 10,600-18,600 US$ 1,360-2,390

123

村上隆

Takashi MURAKAMI

村上隆1962年出生於日本東京，並於東京國立大學完成美術學士、碩士和博士學位。1996年於東京創立HIROPON工廠，其後演變為大型藝術創作和藝術管理的Kaikai Kiki有限公司，除了作品和項目的製作和推廣上之外，更管理年輕藝術家的職業生涯、組織國際藝術項目。村上隆同時也身為策展人、企業家，以及日本當代社會的觀察員。在1996年第二屆亞太三年展《Present Encounter》中，村上隆以作品《Mr DOB》發表《超扁平宣言》。他說到：「將來的社會、風俗、藝術、文化，都會像日本一樣，都變得極度平面（two-dimensional）……今天，日本電玩和卡通動畫最能表現這種特質，而這些又在世界文化中具有強大的力量。」超扁平（Superflat）自此成為村上隆的代名詞。村上的作品已廣泛地在世界各地巡迴展覽，如波士頓美術館（2001 年）、洛杉磯當代藝術美術館（2007年），先後於紐約布魯克林博物館、法蘭克福現代藝術美術館和畢爾包古根漢博物館舉辦回顧展（2008、 2009年）。並於2010年在法國凡爾賽宮展覽。 2019年在香港大館當代美術館舉辦個展，擔任開幕首展。村上隆的作品也獲得流行時尚產業的青睞，與Louis Vuitton合作長達十多年，為其創作的彩色圖案手袋成為品牌經典紋樣之一，2019年與歌手怪奇比莉(Billie Eilish b.2001)合作推出MV， 2020年也與Uniqlo聯名衣服吸引眾多粉絲。

Takashi Murakami was born in 1962 in Tokyo, Japan, and received his BFA, MFA and PhD at Tokyo National University. He founded a HIROPON factory in Tokyo in 1996, which then became Kaikai Kiki Co., a large-scale art production and art management corporation. Kaikai Kiki Co. supports and fosters young Japanese artists. Murakami is an artist, also curator, entrepreneur, and critical observer of contemporary Japanese society. In 1996, Murakami gave a speech titled “Superflat” as well as published his work MrDoB in the second Asia triennial exhibition, Present Encounter. He mentioned “In the future, society, culture and art will become two-dimensional like Japan. Today, Japanese video games and anime present this characteristic most and they are influential in the world.” Then, “Superflat” became a synonym for Murakami. Murakami's works have been shown frequently in leading institutions and exhibitions around the world, such as Museum of Fine Arts, Boston (2001), Museum of Contemporary Art, Los Angeles (2007). A retrospective presents at Brooklyn Museum, Museum für Moderne Kunst, and Guggenheim Museum Bilbao in 2008 and 2009. An exhibition opened at the Château de Versailles, France in 2010. Takashi Murakami held a solo exhibition at Hong Kong Tai Kwun Contemporary as the opening of the museum in 2019. Takashi Murakami’s works are also popular in fashion industry, for instance, he has cooperated with Louis Vuitton for more than ten years, and colorful iconic LV logo print Murakami redesigned has became one of Louis Vuitton’s classic patterns. Besides, Murakami designed a music video “you should see me in a crown” for Billie Eilish (b.2001) in 2019. Uniqlo also made collaboration with Murakami and attracted many fans in 2020.

124

1142

村上隆 (b.1962)

Takashi MURAKAMI

Inochi（五件一組）

Inochi (A set of five)

混合媒材限量200件 37×15×9 cm (14.6×5.9×3.5 in.)×5

Mixed media Edition of 200 With original box

附原包裝盒

NT$ 400,000-600,000 HK$ 106,400-159,700 US$ 13,640-20,460

創作概念來源自史蒂芬．史匹柏（Steven Allan Spielberg, b.1946）的電影《AI人工智慧》，命名則來自2002年的筱原哲雄電影「命Inochi」，將宇宙外星人形塑為小學生樣貌，外貌奇異卻又有趣可愛，一共有5款不同的玩偶，是村上隆代表作品之一。作品仔細重現了Inochi制服及書包等細節，服裝皆可穿脫，著色也與原著相同使用5種配色。由製造可動公仔數一數二的世界最高等級工房MEDIUM TOY製作，每個雕塑配件的精巧程度令人歎為觀止，原創作品耗時6年，加上藝術家對於作品品質嚴格把關，製作公仔也耗費3年時間，長久的時間與堅持的信念下， Lot 1142《Inochi（五件一組）》品質優良精密，儼然是精心創作的藝術品。 125

Inochi (A set of five ) comes from the film “A.I. Artificial Intelligence " by Steven Allan Spielberg (b.1946), and the name is from the 2002 Tetsuo Shinohara movie "Mei Inochi". Muraki shapes aliens into the appearance of school students, strange but funny and cute, there are 5 different dolls in total and is one of Murakami Takashi's representative works. The work carefully represents the details of Inochi's uniforms and schoolbags. Their clothes can be worn and taken off. Colors are the same as the original work in 5 colors. They are produced by MEDIUM TOY, the world's highest-grade studio, and the sophistication of each accessory is breathtaking. Original works take 6 years plus the artist strictly controlled the quality of the work, and it took 3 years to produce the dolls. With long time and persistent belief, Lot 1142 Inochi (A set of five) has high quality and precision, and undoubtedly to be a delicate artwork.

1143

梁奕焚 (b.1937) 紅色沙發油彩畫布 2008 簽名右下：LIANG 奕焚008 畫背簽名：梁奕焚 80.5×130.5 cm (31.7×51.4 in.)

LIANG Yi Fen Red Sofa Oil on canvas 2008 Signed lower right: LIANG, YiFen in Chinese 008 Signed on the reverse: Liang YiFen in Chinese

NT$ 60,000-100,000 HK$ 16,000-26,600 US$ 2,050-3,410

1144

劉影劍 (b.1956) 一雙繡花鞋油彩畫布畫背簽名：劉影劍 92 . 5 93×73 cm (36.6×28.7 in.)

LIU Ying Jian Embroidered Shoes Oil on canvas Signed on the reverse: Liu Ying Jian in Chinese 92.5

NT$ 30,000-80,000 HK$ 8,000-21,300 US$ 1,020-2,730

126

1145

龐永杰 (b. 1968) 敦煌油彩畫布 2000 簽名左下：PJ 2000.4 畫背鈐印：文不辨 (朱文) 117×77 cm (46×30.3 in.)

127

PANG Yong Jie Dunhuang Oil on canvas, framed 2000 Signed lower left：PJ 2000.4, with one seal of the artist

NT$ 180,000-250,000 HK$ 47,900-66,500 US$ 6,140-8,530

1146

黃君璧 (1898-1991) 林麓秋晴紙本墨書、彩墨雙挖本幅題記：林麓秋晴。本幅款文：丁卯夏日畫於容安樓，九十老人黃君璧。本幅鈐印：黃君璧印（白文）君翁（朱文）容安樓（白文）詩堂釋文：幽林崖畔有人家，掩映丹楓似錦霞；莫道清秋無麗景，喜看木葉勝春花。詩堂款文：丁卯夏日，九十老人君璧。詩堂鈐印：黃君璧印（朱文）君翁（白文）美意延年（白文） 34×34 cm、33.5×34.5 cm (13.4×13.4 in.、13.2×13.6 in.)

HUANG Jun Bi Forest in Sunny Autumn Ink and color on paper

NT$ 700,000-1,200,000 HK$ 186,300-319,300 US$ 23,870-40,930

128

1147

黃君璧 (1898-1991) 秋林蕭森紙本設色鏡框題記：秋林蕭森，秋山澹蕩；雲靄晶然，恣我遊索。款文：乙未夏日，畫於台北白雲堂。黃君璧。鈐印：黃君璧印（白文）君翁（朱文）白雲堂（白文） 56.5×29.5 cm (22.2×11.6 in.)

HUANG Jun Bi Landscape Ink on paper

NT$ 700,000-1,200,000 HK$ 186,300-319,300 US$ 23,870-40,930

129

1148

李義弘 (b.1941) 英華殿牆蔭銷夏圖紙本設色題記：清夏好夢圖款文：己巳仲秋于笛音凝室明窗，李義弘。鈐印：義弘染翰（白文）在川小記（朱文）且就洞庭賒月色，將船買酒白雲邊（朱文） 68.5×139 cm (27.0×54.7 in.)

LI Yi Hong Red Wall Ink on paper

NT$ 600,000-900,000 HK$ 159,700-239,500 US$ 20,460-30,690

130

1149

江兆申 (1925-1996) 擬北苑贈梁乃予圖紙本設色立軸題記：荒村九十月，山影半蒼黃；曳杖林邊路，開醰透酒香。上款：乃予社兄屬正。款文：茮原江兆申畫。鈐印：江兆申印（白文）略無丘壑（白文）即事多所欣（白文）畫背：茮原近況（朱文） 138.5×69 cm (54.5×27.1 in.)

CHIANG Chao Shen Lanscape Ink and color on paper

NT$ 1,000,000-1,300,000 HK$ 266,100-345,900 US$ 34,110-44,340

上款人「乃予社兄」即梁乃予（1927–2001）先生，別署意古樓主，福建福州人，臺灣著名篆刻家，亦擅書畫，輯有《梁乃予印存》、《意古樓印譜》等，與江兆申同為臺灣民國五、六十年篆刻團體「海嶠印集」成員。該作與一般市面所見江兆申山水畫，品味窘然有別！因「梁乃予」先生精通篆刻書畫，故江氏特意取法北宋宮廷畫苑「高遠」、「深遠」布局，二重視焦編排場景。通觀有渾厚古穆、古意高卓之感。此外，主山屬於「木行」山勢，代表生機勃發、春天參贊化育之意；除作為裝飾外，也象徵蒸蒸日上與賡新創造，實為江兆申先生少數精品之作。原裝原裱、上款人明確，值得珍藏。

畫背鈐印 131

1150

余承堯 (1898-1993)

YU Chen Yao

草書唐詩二首

Calligraphy

紙本墨書鏡框 1990 釋文：故人西辭黃鶴樓，

Ink on paper 1990

烟花三月下揚州；孤帆遠影碧空盡，唯見長江天際流。誰家玉笛暗飛聲，散入東風滿洛城；此夜曲中聞折柳，何人不起故園情。款文：庚午夏日書李白二絕句。余承堯鈐印：余承堯印（白文） 52.5×110.5 cm (20.7×43.5 in.)

NT$ 130,000-260,000 HK$ 34,600-69,200 US$ 4,430-8,870

1151

于右任 (1879-1964)

YU You Ren

草書《菜根譚》句

Calligraphy

紙本墨書立軸釋文：居安當操一心以慮惠；處變當堅百忍以圖成。上款：震夷先生款文：于右任鈐印：右任（朱文） 87×43.8 cm (34.3×17.2 in.)

Ink on paper

NT$ 160,000-350,000 HK$ 42,600-93,100 US$ 5,460-11,940

132

1152

周澄 (b.1941)

ZHOU Cheng

青楓翠谷卷

Scroll of Green Mountains and Verdurous Valley

紙本設色手卷本幅題記：青楓翠谷本幅款文：辛酉初夏，蓴波周澄畫。本幅鈐印：周澄印信（白文）旾坡（朱文） 15.5×158 cm、15.5×108 cm (6.1×62.2 in.、6.1×42.5 in.)

Ink and color on paper

1153

鄔企園 (1902-1991) 鄔企園東籬秀色鄭善禧引首紙本設色手卷釋文等：（文不錄） 34.5×96.5 cm、34.5×72.5 cm (13.6×38 in.、13.6×28.5 in.)

NT$ 50,000-120,000 HK$ 13,300-31,900 US$ 1,710-4,090

WU Chi Yuan Beauty of the East Fence Ink and color on paper

NT$ 30,000-50,000 HK$ 8,000-13,300 US$ 1,020-1,710

1154

1155

鄭善禧 (b. 1932)

魚之樂

高美館老虎版畫

紙本水墨托片題記：魚之樂款文：歲丙寅之夏，鄭善禧作於臺北金山老廈四層畫舍。鈐印：鄭（白文）善禧（朱文）吉祥（白文） 60×29.5 cm (23.6×11.6 in.)

版畫限量3000件 45.3×23.5 cm (17.8×9.3 in.) 簽名：鄭善禧 1997 虎爺鎮宅 437/3000 原版套印，非微噴再版，實際數量數十幅

ZHENG Shan Shi

Tiger Print of Kaohisung Museum

The Happiness of Fish

of Fine Arts

Ink on paper

NT$ 100,000-150,000 HK$ 26,600-39,900 US$ 3,410-5,120 133

NT$ 9,000-20,000 HK$ 2,400-5,300 US$ 310-680

Print Edition of 3000 Signed: Zheng Shan Shi in Chinese, 1997, Tiger Protects House in Chinese, 437/3000

1156

李奇茂 (b.1925)

LEE Chi Mao

東坡居士品硯圖

Dongpo Buddhist

紙本設色立軸題記：東坡居士嗜品硯為樂也。款文：采風堂主人奇茂鈐印：李奇茂印（白文） 89.8×54.3 cm (35.4×21.4 in.)

Ink and color on paper

NT$ 30,000-60,000 HK$ 8,000-16,000 US$ 1,020-2,050

1157 1157

1158

歐豪年 (b.1935)

尋幽探勝

雲瀑望野

紙本設色橫軸上款：侶池先生雅正款文：庚戌春日，豪年畫於香江鈐印：歐豪年（朱文）簃軒（白文；四神） 44.7×96.4 cm (17.6×38.0 in.)

紙本設色鏡框 1992 款文：壬申春日，歐介豪年鈐印：豪年（白文） 85×55.5 cm (33.5×21.9 in.)

OU Hao Nien Landscape Ink and color on paper

NT$ 160,000-250,000 HK$ 42,600-66,500 US$ 5,460-8,530

1156

OU Hao Nien Landscape Ink and color on paper

1158

Framed 1992

NT$ 90,000-150,000 HK$ 23,900-39,900 US$ 3,070-5,120

134

1159

石川欽一郎 (1871-1945) 奧武藏水彩紙款文：欽鈐印：欽生（朱文） 27.5×24 cm (10.8×9.4 in.)

Kinichiro ISHIKAWA Omusashi Watercolor on paper

NT$ 50,000-110,000 HK$ 13,300-29,300 US$ 1,710-3,750

1160

135

黃磊生 (1928-2011)

HUANG Lui Sang

木棉花

Kapok

紙本設色托片 2005 題記：喜事近了款文：己亥年，磊生畫。乙酉並題，時客臺北鈐印：黃磊生（朱文） 41.5×67.8 cm (16.3×26.7 in.)

Ink and color on paper 2005

NT$ 5,000-10,000 HK$ 1,300-2,700 US$ 170-340

1161

黃君璧 (1898-1991)

HUANG Jun Bi

松下觀瀑

Landscape

紙本設色立軸款文：白雲堂黃君璧鈐印：南海黃君璧鉥（白文）君翁（朱文） 33×48 cm (13.0×18.9 in.)

Ink and color on paper

NT$ 30,000-60,000 HK$ 8,000-16,000 US$ 1,020-2,050

請蒞臨現場檢視畫作實況

1162

于右任 (1879-1964) 草書徐渭句

1163

紙本墨書立軸釋文：放眼千山外；無言一笑中。款文：于右任鈐印：右任（朱文） 125.5×68 cm (49.4×26.8 in.)

于右任 (1879-1964)

YU You Ren Calligraphy Ink on paper

NT$ 20,000-60,000 HK$ 5,300-16,000 US$ 680-2,050

草書清人句岳飛滿江紅監察院箋墨書軟片釋文：雲山起翰墨；星斗煥文章三十功名塵與土，八千里路雲和月。莫等閒，白了少年頭，空悲切。岳飛詞。款文：于右任鈐印：右任（朱文） 25.8×13.2 cm (10.2×5.2 in.)

YU You Ren Calligraphy Ink on paper

No reserve 1164

洛夫 (1928-2018) 行書格言紙本墨書鏡框（對聯）釋文：居家閑是福；處世忍為高款文：洛夫鈐印：洛夫（朱文） 68.5×19.5 cm (27.0×7.7 in.) 附藝術家親簽之原作保證書

LUO Fu Calligraphy

1165

歐豪年 (b.1935) 英雄獨立紙本設色托片 1980 款文：庚申冬月，歐介豪年鈐印：歐豪年印（白文） 62×54.5 cm (24.4×21.5 in.)

Ink on paper

OU Hao Nien

Attached gallery certificate

Eagle

signed by artist

Ink and color on paper 1980

NT$ 30,000-50,000 HK$ 8,000-13,300 US$ 1,020-1,710

NT$ 60,000-90,000 HK$ 16,000-23,900 US$ 2,050-3,070 136

1166

1167

江兆申 (1925-1996)

賈景德 (1880-1960)

行書陸放翁

楷書總理格言

《出遊歸臥得雜詩》

紙本墨書立軸釋文：（釋文略）款文：韜園賈景德鈐印：賈景德印（白文）煜如（朱文） 179×67 cm (70.5×26.4 in.)

紙本墨書立軸釋文：江天缺月西南落，村路閒雞一再鳴；自笑自身羈旅慣，野橋孤店每關情。款文：甲寅。江兆申書鈐印：江兆申（白文）

JIA Jing De

茮原（朱） 136×32.5 cm (53.5×12.8 in.)

Calligraphy

CHIANG Chao Shen

NT$ 20,000-50,000 HK$ 5,300-13,300 US$ 680-1,710

Calligraphy Ink on paper

Ink on paper

NT$ 60,000-100,000 HK$ 16,000-26,600 US$ 2,050-3,410

1168

1169

汪中 (1925-2010)

隸書五言聯

灑金紅宣墨書鏡框釋文：文辭高峻岳；名德望雲天。鈐印：汪中之印（白文）愚公（朱文） 73×16 cm (28.7×6.3 in.)

瓦當磚文紙墨書釋文：相見亦無事；不來常憶君。款文：癸酉，雨盦。上款：宗陽賢友雅屬。鈐印：桐城汪氏（白文）履安印信（白文） 133×33.5 cm (52.4×13.2 in.)

WANG Chung Calligraphy

WANG Chung

Ink on paper

Calligraphy Ink on paper

NT$ 20,000-30,000 HK$ 5,300-8,000 US$ 680-1,020

國父紀念館「翰逸神飛－汪中教授書藝紀念展」（2020.08.12~09.22）現正展出中。

137

NT$ 20,000-30,000 HK$ 5,300-8,000 US$ 680-1,020

國父紀念館「翰逸神飛－汪中教授書藝紀念展」（2020.08.12~09.22）現正展出中。

1170

1171

王雲五 (1888-1979)

蔣經國 (1910-1988)

手擬支款書

查察聚賭手飭

便箋墨書軟片釋文：（文不錄）上款：德芳兄款文：雲五，二月十五 27.2×19.4 cm (10.7×7.6 in.)

國民大會箋墨書軟片釋文：（文不錄）款文：蔣經國書，六月十二日 26.5×19.2 cm (10.4×7.6 in.)

CHIANG Ching Kuo WANG Yun Wu

Manuscript

Ink on paper

No reserve No reserve

1172

蔣緯國 (1916-1997)

CHIANG Wei Kuo

邀少傑將軍演講函

Manuscript

稿紙原子筆軟片釋文：（文不錄）上款：少傑將軍款文：後學蔣緯國敬啟，68 6 11 鈐印：蔣緯國（朱文） 26×20 cm (10.2×7.9 in.)

Ballpoint pen on paper

NT$ 20,000-50,000 HK$ 5,300-13,300 US$ 680-1,710

1173

1174

梁寒操 (1898-1975)

黃少谷 (1901-1996)

覆王雲五贈詩詞集事宜

覆讀書心得概要

國民大會箋墨書軟片釋文：（文不錄）上款：雲五款文：弟寒操頓首，六、卅 27×19 cm (10.6×7.5 in.)

黃少谷用箋墨書軟片 1973 釋文：（文不錄）上款：紀瀅款文：黃少谷敬啟，七十三年元月十六日鈐印：黃少谷（白文） 27×22.2 cm (10.6×8.7 in.)

LIANG Han Tsao Manuscript Ink on paper

HUANG Shaogu Manuscript

No reserve

Ink on paper

No reserve

138

1175

1176

郎靜山 (1892-1995)

LANG Jing Shan

謝東閔 (1908-2001)

XIE Dong Min

兩岸共同舉辦攝影展倡議書

Manuscript

謝東閔題詞、發給選舉權證、玉照

Manuscript

稿紙墨書軟片款文：癸酉百零三叟郎靜山謹識鈐印：郎靜山（白文） 26×18 cm (10.2×7.1 in.)×3

Ink on paper

複合媒材釋文：（文不錄）上款：秀惠款文：謝東閔鈐印：謝東閔印（白文） 25×17.5 cm (9.8×6.9 in.)

Mixed media

No reserve

1177

1178

陳立夫 (1900-2001)

陳誠 (1898-1965)

論攝影展事宜

覆《國防叢刊》事宜

國民大會便箋墨書軟片釋文：（文不錄）上款：李傑宗兄款文：陳立夫，八一、十、二鈐印：陳（白文） 27.2×19.5 cm (10.7×7.7 in.)

國民大會便箋墨書軟片釋文：（文不錄）上款：則之款文：陳誠敬啟，五月六日鈐印：陳誠（白文） 26.5×19.2 cm (10.4×7.6 in.)

CHEN Lifu

CHEN Cheng

Manuscript

Ink on paper

No reserve

1179

1180

陳立夫 (1900-2001)

陳誠 (1898-1965)

覆贈攝影選集事宜

覆照辦請託事宜

陳立夫用箋墨書軟片釋文：（文不錄）上款：崇賢款文：陳立夫敬啟，五月二日 29×22.8 cm (11.4×9.0 in.)

國民大會箋墨書軟片釋文：（文不錄）上款：友三款文：陳誠拜啟，三月廿五日鈐印：陳誠（白文） 26.2×19 cm (10.3×7.5 in.)

CHEN Lifu Manuscript

CHEN Cheng

Ink on paper

Manuscript

No reserve

139

Ink on paper

NT$ 20,000-35,000 HK$ 5,300-9,300 US$ 680-1,190

1182

陸儼少 (1909-1993) 《陸儼少詩文題跋手稿》線裝印本 33×22.5×1.5 cm (13.0×8.9×0.6 in.)

LU Yanshad Manuscript Wire print

1181

焦桐葉振富 (b.1956) 雙人床焦桐用箋原子筆槁軟片簽名右下：焦桐釋文：（文不錄） 25×15.5 cm (19.8×6.1 in.)

No reserve

1183

羅家倫 (1897-1969) 《孫中山年譜》導言手稿鋼版油印本 1956 26×39 cm×2 (10.2×15.4 in.)×2

LUO Jia Lun YEH Chen Fu

Manuscript

Double bed

Steel mimeograph 1956

Ballpoint pen on paper Signed lower right: Jiao Tong in Chinese

No reserve

NT$ 20,000-35,000 HK$ 5,300-9,300 US$ 680-1,190

1184

1185

劉伯中 (1912-1994)

LIU Bozhong

警備總司令部劉伯中少將

Manuscript

書法習本一冊、新聞剪輯一冊

Ink on paper

宣紙墨書線裝釋文：（文不錄） 31×49×4 cm (12.2×19.3×1.6 in.) 19×26.7 cm (7.5×10.5 in.)

No reserve

《唐宋元明名畫大觀》唐宋之部、元明之部 39×53.5×4.5 cm (15.4×21.1×1.8 in.)

"Grand View of Famous Paintings in Tang, Song, Yuan and Ming Dynasties" Department of Tang and Song Dynasties, Department of Yuan and Ming Dynasties No reserve

140

AI Weiwei 艾未未（b.1957）生於北京，中華人民共和國藝術家、異議人士。活躍於建築、藝術、影像、推特和社會文化評論領域，被廣泛認為是現今最著名的當代藝術家之一。以其社會評議性作品聞名，使用多種媒介和材料創作其概念化、以現成物品藝術為靈感的作品，作品的藝術性及視覺表現力，均與他作為一位積極分子的活動密切相關，他認為「行為即藝術，即自由表達」。通過大量的展出作品以及數位化工具，艾未未的藝術正化身為變革的工具，努力傳遞希望與勇氣，讓世界變得更美好。艾未未的作品被全球多家著名博物館收藏，包括倫敦泰特現代美術館以及美國紐約現代藝術博物館。 Lot 1116

Alex Face 亞歷克斯．菲斯（b.1981） Alex Face出生泰國，本名Patcharapon Tangruen。曾就讀於曼谷的先皇技術學院（King Mongktut Institute of Technology），修習建築學專業，對建築濃厚的興趣深深影響他在日後的創作靈感。Alex Face注意到曼谷的街頭和許多廢棄的場景，促使他利用公共空間裡的牆面作為畫布，嘗試創作一系列塗鴉作品，因此打響了他Alex Face作為街頭藝術家的名號。Alex Face創作的標誌性人物，名為Mardi，而Mardi身上的兔子裝扮，象徵孩童的天真可愛，卻也暗喻著孩童在社會處於弱勢者的角色，作品藉此連結更多孩童相關的社會議題。而角色頭上的第三隻眼，Alex Face形容它扮演暗中的觀察者，沉默見證社會的悲劇，同時第三隻眼也源自東南亞的傳統信仰，相信有些事物非肉眼可見，只能透過感知察覺，Alex Face期望自己的創作也能觸碰那些無法被看見的事物。 Thailand native Alex Face (born Patcharapol Tangruen) studied architecture at Bangkok’s King Mongktut Institute of Technology and graduated with a Bachelor’s Degree in Fine and Applied Arts. His strong interest in architecture led him to explore the streets and alleys of Bangkok for abandoned buildings, buildings that he eventually used as a canvas to develop his street art and the medium of choice for his creative expression. Then Alex Face became a well-known graffiti artist, and his signature characters called ‘Mardi’. Mardi’s rabbit suit not only symbolizes the innocence of children, but also implies children a disadvantaged role in society. Thus, Alex Face’s works connect more social issues related to children. As for the third eye in the middle of Mardi's forehead, Alex Face describes that it acts as a secret observer to witness tragic events in society. Besides, the third eye derives from traditional beliefs in Southeast Asia, which believes something we can only feel but cannot see. Alex Face considers himself an artist with a social conscience, so he hopes that his creation can touch the spiritual and unknown realm.

Lot 1135

Andy WARHOL 安迪．沃荷（1928-1987）生於美國賓夕威尼亞州，為普普藝術著名代表人物。1949年畢業於現今的卡內基美隆大學，獲平面設計學士學位。1952年赴紐約，以設計商業廣告維生，同時嘗試藝術創作。1950年代，沃荷以插畫家身分立足紐約；自1960年代，他開始投身繪畫創作，以通俗用品、漫畫與廣告為題材繪製作品，將藝術創作焦點轉到大眾文化，著名的康寶湯罐頭系列即誕生於此時期。同時，沃荷也涉足電影拍攝、成立「工廠」工作室，並登上各大主流雜誌與媒體。1970年代後，他創作了一系列名人的絹印肖像，著名包括伊麗莎白泰勒（Liz Taylor）、傑克甘迺迪（Jackie Kennedy）、詹姆士狄恩（James Dean）、馬龍白蘭度（Marlon Brando）、瑪麗蓮夢露（Marilyn Monroe）、「貓王」艾維斯普萊斯利（Elvis Presley）與毛澤東等；更於1986年創作出其最具紀念性的作品「最後的晚餐」。安迪．沃荷身兼畫家、攝影師、商人、導演、明星與作家，一生創舉無數，於西洋藝術史中占有一席之地，名聲更響徹國際藝壇，作品也為世界頂級藏家爭相蒐藏。 Andy Warhol was born in Pittsburgh, Pennsylvania. Andy Warhol was an American painter, printmaker, and filmmaker as well as the leading figure in the visual art movement known as pop art. Graduated from Carnegie Mellon University in 1949, earning a Bachelor of Fine Arts degree in Pictorial Design, he moved to New York in 1952, and became one of the most successful commercial illustrators of the 1950s. From 1960, Warhol devoted more energy to painting. He based on comics and ads to create artworks that suited popular culture. The famous Campbell’s Soup Can series was debuted during this period. At the same time, Warhol started dabbled in film making, and establish “The Factory” studio. By the mid-1960s he was a frequent presence in magazines and the media. Throughout the 1970s and 1980s, Warhol was a prolific artist, producing numerous works, creating many celebrities’ portraits in silk prints. Warhol’s final two exhibitions were his series of “Last Supper” paintings. Warhol became famous worldwide for his work as a painter, avant-garde filmmaker, record producer, author, and member of highly diverse social circles. His name is written in the Western art history, and his status in the international art scene is high. Works by Warhol are chased and collected by many top-notch collectors around the world.

Lot 1017

141

Banksy 班克斯（b.1974）班克斯是一位匿名的英國塗鴉藝術家、社會運動活躍份子及電影導演。其街頭塗鴉經常帶有諷刺意味，在旁則附有一些顛覆性、玩世不恭的黑色幽默和警示語句，班克斯大多運用獨特的模板技術拓印而成。他的作品富有濃厚政治風格，儼如一種以藝術方式表達的社會評論，並已經在世界各地不同城市的街道、牆壁與橋樑出現，甚至成為當地引人入勝的城市面貌。眾所周知，對於絕大多數政府將塗鴉藝術標籤為「恣意毀壞他人財物罪」之既定政策，班克斯一向以藐視的立場聞名。他習慣在最能接觸社會大眾的表面，例如牆壁等地方展示自己的作品，有時更不惜親自動手，為其塗鴉圖案建造些物理支撐點。儘管班克斯從來不曾把自己的塗鴉作品或相關照片用作銷售牟利的用途，不過，很多藝術拍賣行都曾經試圖出售他進行街頭藝術的現場，並讓贏出競價的人自行決定對該處塗鴉的處置方式。 Banksy is anonymous British street artist, activist and film director. His graffiti are often ironic along with cynical black humor and subversive epigrams. Besides, Banksy applies a unique stenciling technique. Generally, Banksy’s works contain strong political messages and express social criticism in art way. They have appeared on streets, walls, and bridges in different cities, and even have become a local landscape. It is well known that graffiti have been labeled as vandalism by most governments while Banksy is known for a position of despising. Banksy gets used to displaying his works on publicly visible surfaces such as walls, and sometimes he even builds physical prop pieces himself for graffiti. Although Banksy has never sold his street graffiti and related photographs for profit, many auction houses have tried to sell a scene where he created art, and let the highest bidder decide what to do with the graffiti.

Lot 1007

Lot 1009

C. J. YAO 姚慶章（1941-2000）姚慶章1941年出生於雲林西螺，四歲遷居臺中，中學已決心走上藝術之路，曾在廖繼春門下學畫，1961年考進臺灣省立師範大學藝術系， 1964年曾與同學江賢二、顧重光創辦「年代畫會」，並在台灣省立博物館舉辦第一屆年代畫會展，展出作品以抽象派風格為主。1970年參加巴西聖保羅國際美展後赴美國紐約發展，居住在蘇荷區（Soho）數十年間，從抽象畫轉變進入超寫實，描繪在紐約感受到的都市風華，精準呈現現代建築的反光、鏡映景象，照相寫實風格獲得極大迴響與肯定，亦是台灣第一代在紐約華人畫家的重要代表。1980年代中期以後姚慶章開創了「第一自然系列」，脫離超現實主義，回歸內在心靈主題，探索生命宇宙源頭，以及《易經》天道思想。1990年代之間，姚慶章往來於紐約、台北，創作不懈，晚期孕育出他成熟精彩的「生命系列」隱喻宇宙生命能量，2000年病逝紐約，2001年台北國立歷史博物館舉辦紀念畫展。 C. J. Yao was born in Yunlin, Taiwan in 1941 and moved to Taichung at four, he was determined to be an artist at junior high school and had been a student of LIAO Chi Chun. He entered Fine Art Department at National Taiwan Normal University in 1961, cofounded Year Society with Paul Chiang and Gu Chong-Guang. They held their first exhibition at Taiwan Provincial Museum, and most works were abstract style. After participating in the Sao Paulo International Art Exhibition in 1970, Yao went to New York to develop. Living in Soho for ten years, Yao turned abstract painting to hyper-realism and depicted the urban scenery he felt in New York. Yao’s photorealism style has received great response because he accurately presents the light and reflection of skyscrapers. Yao was also an important representative artist among the first generation of Asian American artists in New York. After the mid1980s, Yao created Nature Series, left surrealism, returned the inner spiritual theme, and explored the origin of the universe and thought of Chinese Yijing. Although this change seemed abrupt, there were signs and indications. Abstract images became a new way because it’s hard to transcend when hyperrealism came to an end. Besides, it could be a result of his deep cultural genes woke up. Back to early abstract style, Yao used mature techniques, integrated more emotions, and created with deep and profound thoughts. Lot xxx First Narure obviously no longer considers vivid and accurate depiction as the top priority for creation; instead, it pursues inner calling. Metaphorical lines and abstract composition replace a single accurate answer of hyperrealism; on the contrary, it interprets unlimited creative possibilities and releases the energy of art creation. Between the 1990s, Yao kept creating between New York and Taipei. In later period, Yao developed a mature and wonderful Life Series to depict energy of the universe. Yao passed in New York in 2000, and National Museum of History held a memorial exhibition in 2001.

Lot 1027

142

CHANG Yi Hsiung 張義雄（1914-2016）台灣嘉義市人。1926年開始跟隨陳澄波學習油畫。1931年返台入嘉義中學，來年赴日考入東京帝國美術學校（今武藏野美術大學），1933 年轉至京都兩洋中學，晚間至關西美術學校練習作畫，1935年與陳澄波組「青辰美術為會」，隔年約五次投考東京美術學校失敗。持續在川端畫校進修；1948年任教於台灣師範學校（師大前身），1949年先後在台陽美展獲三次首獎。省展獲美術高榮譽獎，免審查資格， 1954年與陳德旺，張萬傳，洪瑞麟，廖德政、金潤作合組『紀元美術會』。1980年決心永居巴黎，巴黎春季沙龍獲Mention Honorable獎，巴黎秋季沙龍入選後，81、83、85年皆入選；1987年獲頒法國政府藝術家年金，為台灣第一人獲此殊榮。隔年成為巴黎秋季沙龍正式會員，1994年台北市立美術館舉辦「張義雄八十回顧展」。1995、 1997年皆在台中歌德舉辦個展。1999年台北、台中、嘉義、台南『繪畫生涯演講會』，畫冊同時出版。2004年於國立歷史博物館舉辦九十回顧展，於台中哥德藝術中心舉辦九十回顧經典展。2013年於國立台灣美術館舉辦「百歲回顧展」，在2017台北國際藝術博覽會，與2019台北藝博會皆有作品展出。 Lot 1040 Lot 1041

CHEN Cheng 陳誠（1898-1965）字辭修，乳名德馨，別號石叟。中華民國陸軍一級上將，是中國國民黨黨、政、軍首要人物之一。其軍事集團是蔣中正嫡系部隊中堅力量。他自黃埔軍校起就一直追隨蔣中正，成為其心腹，曾任軍長、兵團總指揮、集團軍總司令、軍政部長、湖北省政府主席、國防部參謀本部參謀總長兼任海軍總司令部總司令等要職。到臺灣後，歷任臺灣省政府主席、行政院院長、副總統和中國國民黨副總裁。陳誠有輔臣之功。陳誠是蔣介石的愛將，雖為將軍，卻是文人心境。筆墨精緻，品質文雅。

Lot 1178

Lot 1180

CHEN Li fu 陳立夫（1900-2001）

Lot 1177

Lot 1179

名祖燕，字立夫，浙江省吳興縣東林澤河裡（現屬湖州吳興區東林鎮）人，1924年，獲美國匹茲堡大學採礦學碩士學位。父陳其業，字勤士，兄陳祖燾，字果夫。其二叔陳英士（陳其美）於辛亥革命初期與黃興同為孫中山的左右股肱，陳其美與蔣中正關係密切，為蔣中正結義之兄，將蔣中正引薦於孫中山，而蔣提拔陳果夫陳立夫兩兄弟，蔣陳兩家可以說是沒有陳其美就沒有蔣中正，沒有蔣中正也沒有陳氏二兄弟的相互提拔的關係，陳立夫另外曾化名李融清、辜君明。陳立夫90歲那年，以一生寫書法募款所得成立財團法人立夫醫藥研究文教基金會，用以鼓勵國內外從事中醫藥及文化學術高深之研究及推廣，在當時中醫不被相信以及被打壓的情況下極力推崇中醫，因此有“中醫保鑣”的稱號，對中華文化以及儒家思想也有極大貢獻。

CHIANG Chao Shen 江兆申（1925-1996）

Lot 1166

143

Lot 1079

Lot 1149

江兆申，字茮原，1925年出生於安徽歙縣。中年以前以教職為業， 1965年供職故宮博物院，歷任研究員、書畫處處長、副院長，至 1991年退休，期間對於專題展覽舉辦刑事及藝術史研究方法，皆有創新建樹；同時書畫創作從未停歇，由此見識院藏歷代書畫，深受傳統藝術陶養啟發，使創作質量愈益提升，逐漸攀上藝術高峰。書法入古出新，雄強瑰奇，尤以行、草別具風神；繪畫具有妍麗清雅，氣韻生動之特質。江兆申於詩、書、畫、印，全面繼承中國文人書畫優美傳統，為當代文人畫家典範。

CHIANG Ching Kuo 蔣經國（1910-1988）字建豐。中國國民黨總裁及中華民國總統蔣中正的長子，1975年蔣中正逝世後擔任中國國民黨主席，同時也是中華民國第六、第七兩任總統，於1988年1月13日的第七任總統任期內逝世。蔣經國的書法，應是受其父培養。1924年5月1日，已擔任黃埔軍校校長的蔣介石，仍抽暇寫信，教其子練習寫字的方法：寫字筆劃宜清楚，且要字字分明，切不可潦草胡塗。寫信的字，亦要像我寫得一樣大，不可太小。蔣介石又寫信訓示：你的字已稍有進步，但用墨尚欠講究，時有過濃過淡之病，筆力亦欠雄壯。須間日摹寫一次，要在古帖中之橫、直、鉤、點、撇、捺處體會。就寫字而言，直到蔣經國長大，從蘇聯回國後，蔣介石仍很關心。不過，此時蔣介石指導他寫字已進了一步，是教他學習書法了。蔣經國筆力秀雅，頗有文人之風。

Lot 1171

CHIANG Wei Kuo 蔣緯國（1916-1997）蔣緯國原姓戴，字建鎬，一字存東，號念堂，中華民國陸軍二級上將，裝甲兵科，生於日本東京，養父蔣介石，養母姚冶誠，兄蔣經國。曾任國家安全會議秘書長、國防部聯合作戰訓練部主任、聯勤總司令、三軍大學校長和美生會成員。1993年，蔣緯國受聘為中華民國總統府資政。1997年因遺傳疾病併發，於台北榮民總醫院逝世。身後安葬於汐止五指山國軍示範公墓。

Lot 1172

CHIU Ya Tsai 邱亞才（1949-2013）出生於台灣宜蘭，非學院派畫家，自幼對正規學業不感興趣，退伍後才開展對文字藝術的追求，以及對人性的深刻觀察。中國歷史、莎士比亞、杜斯妥也夫斯基等大師巨著的閱讀經驗，豐富其往後繪畫中的人物深度。邱亞才筆下的台灣現代文人肖像，受唐代繪畫的影響頗深，如人物的鉤狀鼻、杏眼，鵝蛋臉，身材頎長纖瘦，雌雄莫辯，主題上傾向於孤寂、憂鬱、內斂而沈靜。1980年代他經常於台北知名文化沙龍「紫藤廬」一隅創作，以成無數畫作及小說。作品曾於台北春之藝廊、歷史博物館及省立美術館等處展出。以肖像畫著稱，藉由畫筆直嘆身埋人類理性面具下的卑微、傲慢、頹廢與脆弱，細膩優雅中洋溢著文人感懷落寞的頹靡氛圍。2013年辭世，享年67歲。 Chiu Ya Tsai was born in Ilan. He is not interested to formal education and developed his interests in literature after he discharged from military. His massive reading experience make his paintings more profound. His paintings always send out the sense of loneliness, depression and quietness. Since his first solo exhibition in 1979, Chiu has been featured in major galleries in Taiwan, Hong Kong and USA. Exhibitions: 1987, the Minds1, Asian Art Centre in New York. In 1989, 300 Years of Fine Arts – Taiwan, National Museum of History, 2004, The New Movement of the 80’s Retrospective: ZHENG Zai Dong, CHEN Lai Xing, CHIU Ya Tsai, Art Centre of Jingyi University.

Lot 1077

Lot 1078

Lot 1096

Lot 1097

144

CHU Teh Chun 朱德群（1920-2014）中國江蘇人。1941年畢業於杭州藝專且留校任職，而後受聘於南京中央大學。1949年在台北任教於師大美術系，1955年赴巴黎深造。1958年於巴黎舉行個展後，1964年應美國匹茲堡卡內基美術博物館之邀參加國際畫展，1987年由法國文化部協辦展開亞洲巡迴展包括北京中國美術館、香港藝術中心、台北市立美術館等。1997年底榮膺法蘭西研究學院藝術院士。2006 獲頒歐洲傑出人材獎。2014年3月26日在巴黎家中逝世，享年94歲。1961年朱德群獲邀參加巴黎「五月沙龍」，1997年成為世界華人兩百年來首位獲選為「法蘭西研究院美術院士」。 1955年赴巴黎留學時受到Nicolas de Steal的啟迪使其創作由具象轉為抽象，至此畫作開始融入中國水墨寫意和獨特抽象畫風，恣意地在紙本上表現豪放不拘情感和對自然山水的喜愛，流暢筆觸下的非定形世界，變化萬千的構圖、蒼勁的線條、絢麗的色彩，在在都刻劃出中國人文「詩中有畫、畫中有詩」的夢幻意境。'

Lot 1028

Chu graduated from the National Academy of Arts in Hangzhou in 1941. He taught drawing at the Central University in Nanjing and the National Taiwan Normal University in Taipei. In 1955, Chu moved to Paris where he held numerous solo exhibitions. In 1964, Chu was invited to show his work at the International Art Exhibition at the Carngie Institute, Pittsburgh. In 1987, Chu most touring exhibitions was organized by the French Ministry of Culture and Shown throughout Asia, including the Chinese Art museum in Beijing, the Hong Kong Arts Centre and the Taipei Fine Arts Museum, in 1977, Chu was honored by the Academie des Beaux-Arts de France and elected as a member of institute. On 26 March 2014, Chu Teh-Chun died in Paris at age 94. In 1961, CHU Teh Chun was invited to the Salon of May in Paris. In 1997, he became the first Asian member of Académie des Beaux-Arts. During his stay in Paris, he was inspired by Nicolas de Steal’s painting style. That was when he began to fuse the tradition Chinese colors and the freely formed abstract works in Western paintings and this fusion allowed him to express his appreciation toward the nature on the canvas. Calligraphic lines with flowing artistic structure and a wide spread of bright colors made his paintings look like dreams. The lines and colors in his work are all carefully planned and are to achieve on goal in harmony: to create the ray of light and bring out the image and the rhythm. The work “Composition No.76” was completed in 1961 and it shows nature itself is his inspiration. The deep blue color in the middle can be seen as the cosmic swirl of Chaos at the beginning of the world.

DAI Bih In 戴壁吟（b.1946）戴壁吟1971年畢業於國立藝專美術科，在學期間拜楊三郎為師，擅長印象派的光影技法。1975年於台北省立博物館首次舉辦個展後便遠赴西班牙，旅居長達三十年，在西班牙結交多位藝術家，與安東尼‧塔皮埃斯(Antoni Tapies，1923-2012)交情友好，薩爾瓦多‧達利 (Salvador Dalí1904-1989)也影響了他的創作。1978年爆發世界第二次石油危機，景氣蕭條的壓力促使他重新思考創作價值，開始進行製紙實驗，戴壁吟成功打破傳統造紙的觀念與目的，找到了他創作的原材。作品長年在西班牙展出，2004年贈予外交部畫作「台灣走出去」， 2007年參加日本東京─台灣美術現代旗手五人聯展，2013年參展台北國際藝術博覽會。戴壁吟在紙上揮灑鄉土情懷與海外經驗，見證台灣戰後世代的藝術家如何面對自身文化與全球現代主義。 Dai Bih-In graduated from National Taiwan University of Arts, was a student of Yang San Lang and good at light and shadow skills of impressionism. After the first solo exhibition at the National Taiwan Museum in 1975, Dai went to Spain for thirty years. Dai made friends with lots of artists there especially had a good relationship with Antoni Tapies (1923-2012). Theses friends as well as Spanish renowned artist Salvador Dalí (1904-1989) profoundly influenced Dai’s art works. When the world's second oil crisis broke out in 1978, the pressure of recession prompted him to rethink the value of creation. Thus, Dai began experiments of making paper to explore the essence of materials. Dai successfully broke traditional concepts and purposes of papermaking; paper no longer stays the same, Dai finally found his material of creation. Dai ‘s art works exhibited in Spain for years, gave Ministry of Foreign Affairs a painting Taiwan walks out as a present in 2004, joined Tokyo and Taiwan Fine Arts Modern Flag Bearer Group Exhibition in 2007, and participated ART TAIPEI in 2013. Dai Bih-In drew native sentiments of Taiwan and foreign experience of Spain on paper to exemplify how Taiwanese artists in the post-war generation came to deal with local culture and global modernism.

Lot 1062

145

Damien HIRST 達米恩．赫斯特（b.1965）生於英國布里斯托，1986年9月就讀於倫敦大學金匠學院。1995年獲得英國當代藝術大獎特納獎。他主導了90年代的英國藝術發展，是英國青年藝術家的主要代表人物之一。青少年時期開始，赫斯特就對屍體有著高度興趣。求學期間，他甚至曾在太平間兼職，也為屍體畫過素描。這些看似平凡卻又不尋常的經歷，深深影響赫斯特日後的創作主題與選擇素材。他的標誌性作品是《生者對死者無動於衷》，這個將鯊魚保存在充滿甲醛的玻璃櫃中的作品，讓赫斯特聲名大噪，更獲得透納獎提名，也以 1200 萬美金的天價拍賣出，成為90年代最具代表性的藝術作品之一。

Lot 1022

DUNG Zuo Bin 董作賓（1895-1963）董作賓原名作仁，河南南陽人，1923至24年入北京大學研究所國學門為研究生；1925至27年先後在福建協和大學、河南中州大學及廣州中山大學任講師、副教授和教授。1928年中研院史語所成立後，歷任通信員、編輯員、研究員及代理所長等職，並在1948年被選為中央研究院院士，接著應美國芝加哥大學之聘，擔任中國考古學客座教授；1949年後擔任台灣大學教授；1956年任香港大學、崇基學院、新亞書院和珠海書院研究員、教授。1958年返臺後，續任台灣大學考古人類學系教授，並應聘擔任中研院史語所增設的甲骨文研究室主任一職。中研院史語所成立後，董作賓主持了殷墟的試掘工作，這是中國從摸索而全面以科學方法發掘遺址的開始。而後，董作賓持續視察殷墟的發掘工作，改良創新了若干考古技術方法，為殷墟的繼續發掘奠定了理論上的基礎。董作賓對中國甲骨文的研究有卓然貢獻，並顯赭於國際間，學界把他與羅振玉（雪堂）、王國維（觀堂）及郭沫若（鼎堂）合稱「甲骨四堂」。他對甲骨學與殷商史的貢獻是多方面的，包含：大龜四版與貞人的發現；十個斷代標準的提出；殷曆的建構，著有《殷曆譜》；甲骨文字的考釋與解讀；殷代地理的推測及制度的研究等。從比較麼些文字與埃及文字中，他證明甲骨不是造字的開始，而有更遙遠的源頭，這除了對文字學的影響外，也開拓了古代文化研究的另一途徑。

Lot 1084

Lot 1085

Lot 1086

Fujiko F Fujio 藤子．F．不二雄（1933-1996）本名藤本弘，日本漫畫家。富山縣高岡市人、畢業於富山縣立高岡工藝高等學校電氣科。受到漫畫大師手塚治虫啟發，立志成為兒童漫畫家，其最開始與小學同學安孫子素雄共用筆名藤子不二雄，後兩人風格出現差異，於1987年正式分拆筆名，稱為藤子不二雄8 F ，F即其本名姓氏開頭首字母。1989年2月，經過藤本的友人石森章太郎先生的建議，其將筆名改為現筆名「藤子．F．不二雄（Fujiko F Fujio）」。代表作有《哆啦A夢》、《小超人帕門》、《奇天烈大百科》、《超能力魔美》等。

Lot 1101 146

HSIAO Chin 蕭勤（b.1935）蕭勤1955年底與多位藝術家成立東方畫會以抽象繪畫為研究主題，後前往義大利發展，深受不定形藝術（Informalism）、抽象表現主義（Abstract Expressionism）的藝術家影響，察覺中國書法律動線條的重要性與特色，並藉此展開一系列的嘗試。蕭勤已不同於早期東方藝術家對西方藝術的形式模仿，蕭勤自創一格，積極探索物質與精神、瞬間與永恆、有限與無限，反思了繪畫媒介的根本，試圖重新發現現代繪畫的本質。蕭勤活躍於國際藝壇，先後參與發起1961年的「國際龐圖（Punto）藝術運動」、1977年的「國際太陽（Surya）運動」、 1989年的「國際炁（Shakti）運動」。蕭勤曾多次獲得藝術界肯定， 2016年獲總統府頒發二等景星勳章，2019年獲頒南藝大名譽博士。他以矜持內斂的東方美學思惟在抽象繪畫領域創造鮮明性格，並獲得西方藝壇的矚目與肯定。 Hsiao Chin cofounded the Ton-Fan Group studying abstract art with many artists in 1955, and he left for Italy to study painting. Hsiao was influenced deeply by informalism and abstract expressionism, realized the importance and features of Chinese calligraphy, and began series of creations. Xiao has been different from early Eastern artists’ imitation of Western art because Xiao developed his own style. Xiao actively explored material and spirit, moment and eternity, finite and infinite, and reflected the root of art materials in order to discover the essence of contemporary painting. Hsiao Chin was active in the international art society; he started the international art movement Punto in 1961, Surya in 1977 and Shakti in 1989. Hsiao Chin has been awarded many times, Order of Brilliant Star with Grand Cordon by the president of Taiwan in 2016, and honorary doctorate by Tainan National University of the Arts in 2019. Hsiao created unique style in the field of abstraction art by his reserved and restrained oriental aesthetics, and won Western world attention and praises.

Lot 1036

Lot 1037

HUANG Jun Bi 黃君璧（1898-1991）原名允誼，晚號君翁，本名醞之，廣州南海人。畢業於廣東公學，從畫家李文顯游，并與粵東藏家交往，致力於山水畫，尤以雲水瀑布見長，擅詩書畫，畫則兼能山水、人物和花鳥，是一個全能型畫家，人物畫最少，所見皆為古裝，如士子、仕女、鍾馗、羅漢及鞍馬人物等，均為傳統畫法，包括工筆重彩、粗筆寫意、精緻白描等，每種畫法均顯示出深厚功力。花鳥、動物作品相對多見，其中不乏精勾細染、色彩絢爛、直逼宋元的工筆之作，有評論者以「淵博溫潤，渾厚朴茂」形容；更有兼工帶寫和粗筆大寫之作，拙樸凝重，黃君璧亦擅畫走獸之屬，為了描繪動物的真實，有時還加入明暗法，曾任廣州市立美術專科學校教務主任、國立中央大學藝術系教授等，1949年渡臺後任臺灣師範大學藝術系系主任、教授，對臺灣藝術教育貢獻卓著。 Born in Guangzhou Nanhai in China. Graduated from the Guangdong public school, from the painter Li Wenxian tour, and with the eastern Guangdong collectors, is committed to landscape painting, especially in the cloud water waterfall known, good poetry and calligraphy, painting is able to landscape, people and flowers and birds, is a versatile painter, Most of the characters painted, see all the costume, such as scholar, ladies, Zhong Kui, Lohan and pommel horse characters, are traditional painting, including meticulous, rough pen freehand, fine white, etc., each painting shows great skills. Flowers and birds, animal works are relatively common, many of them fine lines, color gorgeous, almost equal to the Song Yuan's pen, as some commentators to "profound and vigorous, vigorous Park Mao" described; more work with writing and rough pen In order to depict the real animal, and sometimes joined the shading law, former Guangzhou City Art College academic director, the National Central University Department of art professor, etc., in 1949, the stage of the festivals, He is the director and professor of the Department of Art of Taiwan Normal University and has made great contributions to Taiwan's art education.

Lot 1146

Lot 1147

Lot 1161

HUANG Lui Sang 黃磊生（1928-2011）

Lot 1160

147

黃磊生出生於廣東臺山縣，自幼酷愛書畫，浸淫古典名籍，並師事嶺南派大師趙少昂先生，作品廣為各國美術館收藏。民國46年獲「亞洲第一屆青年畫展」水墨畫首獎及美國獎金委員會頒發之藝術獎金，民國76年獲臺灣省文藝作家協會「中興文藝獎章」，曾任美國東方藝術協會永久最高榮譽顧問、美國中華藝術學會名譽會長、紐約國際華人藝術協會顧問、中華民國三石畫藝學會理事長，以及臺灣省立美術館國畫審查委員、亞太地區藝展國畫評審委員等。也曾任全國及全省美展籌備評審委員、中國文化大學專任教授。黃磊生是一位深入傳統，精通嶺南畫派神髓，兼具現代精神的畫家，其繪畫取材廣博，舉凡花卉翎毛蟲魚山水和走獸，無所不能，亦無所不精。風格波瀾壯闊，書法則隨興遍臨各家，卓然成家，才氣橫溢。

HUANG Shao gu 黃少谷（1901-1996） 1901年生於湖南省，少時慕諸葛武侯智略忠誠，自名黃亮。1924年加入中國國民黨，任《世界日報》編輯、總編輯。曾任國民革命軍第二集團軍總司令部處長、中將秘書長。1930年中原大戰期間，黃少谷代表馮玉祥出席「中國國民黨黨部擴大會議」，通電反抗南京的蔣介石政府。1931年起，任中國國民黨中央委員、中央監察委員。1936年西安事變發生，黃少谷一度聯合留英學生通電，要求殺掉蔣介石。最後眼見西安事變和平解決，黃少谷只好重向蔣介石搖尾乞憐。1948年，蔣介石擬發起所謂勤儉建國運動，特令中國國民黨中央宣傳部長黃少谷起草《勤儉建國運動辦法》。1950年3月，蔣介石以黃少谷為行政院秘書長、歷任總裁辦公室秘書主任、中華民國行政院副院長、外交部長等。後來經過蔣經國提名，任司法院長，又與他進行司法改革。1947年以後當選為中國國民黨歷屆中央常委。1988年任中國國民黨中央評議委員。1987 年退休，寓居台北。 Lot 1174

HUNG Yi 洪易（b. 1970）

1970年生於台中，曾開設九間風格獨特的餐廳，在他三十歲那年，毅然走向藝術家這條路。2000年獲選為「20號倉庫鐵道藝術網絡台中站」駐站藝術家。洪易早期以社會寫實的風格創作平面作品，此時期作品多半會呈現恐怖、怪誕的觀感。2004年開始，作品發展成以立體雕塑創作呈現，洪易將形體簡化，在色彩花樣上表達心中想法，作品色彩強烈並搭配奇異線條和富趣昧性的圖案，散發出的氛圍總能帶給觀者活潑、喜悅的第一印象。2008年開始，經常出國的洪易感覺藝術是需要時代性的，並深信在未來的時代發展將著重於東方元素，於是嘗試將文化特有的語彙應用在立體造型上，在2008年8月推出青花和剪紙圖紋風格的立體作品，單一的色彩元素更能突顯洪易所融合出的獨特符號，並且展現出不同以往的效果。 Born in 1970, Taichung, Taiwan. He was once an owner of 9 restaurants, and at the age of 30, decided to live his life as an artist when he was nominated as the artist of "Stock 20 in Taichung Railway Station" (2002). His work is inspired by his surroundings and life experiences. The artist uses a lot of bright primary colors. His works are bold and lively, which clearly represent the local Taiwanese culture. Hung Yi's major solo exhibitions include the "Art in Taiwan, Interesting Taiwan" (2004, Taipei), "Life in the World" (2002, Taipei), and "Meet Hung Yi" (2008, Taipei). Besides works shown in exhibitions, his works can also be seen in many public art locations.

Lot 1002

Lot 1003

INOUE, Takehiko 井上雄彥（b.1967）日本漫畫家，1967年出生於鹿兒島縣。1988年以《紫色之楓》（楓パープル）獲得第33屆手塚賞佳作正式出道。1990年開始連載《灌籃高手》（SLAM DUNK）、《浪人劍客》（バガボンド）、《REAL》等代表作品。2010年為止，《灌籃高手》在日本國內發行已經超過1億7000萬冊，《浪人劍客》更獲得了日本文化廳媒體藝術祭漫畫部門大賞、手塚治虫文化賞漫畫大賞等獎項，堪稱為日本當代漫畫大師。1990年，《灌籃高手》開始於《週刊少年Jump》漫畫雜誌連載。故事描述不良少年櫻木花道，為受可愛女孩赤木晴子的注目，因而開始學籃球，逐步發覺自身籃球天賦的故事。井上雄彥因為這部作品一躍成名，當時年僅23 歲。灌籃高手的漫畫至今賣出 1億2,000萬本，在全世界17個國家出版發行，也改編成動畫在電視上播映， 2002年英語版動畫在北美洲上映。

Lot 1103

ISHIKAWA, Kinichiro 石川欽一郎（1871-1945）別號一廬，日本靜岡縣人。曾多次至臺灣任教，擔任臺北第一師範學校以及臺北師範學校圖畫科教師，是臺灣近代西洋美術的啟蒙者，同時也是台灣學校美術教育的開創者，讓台灣學生得以接觸西方美術教育，早期在臺曾發起藝術文化月例會、番茶會，後期來臺積極在學校及校外推廣水彩畫，在《臺灣日日新報》、《臺灣時報》、《臺灣教育》發表大量的畫作與文章，出版《最新水彩畫法》、《課外習畫帖》、《山紫水明》等，並且指導七星畫會、臺灣水彩畫會、基隆亞細亞畫會與各種學校美術講習會以及業餘美術愛好團體，並大力提攜後進，在1920年代臺灣畫壇深具吸引力，學生有李石樵、黃奕濱、李梅樹、倪蔣懷、藍蔭鼎、李澤藩等人。

Lot 1159 148

James Jean 簡明（1941-2000）台灣裔美國畫家，以商業作品以及畫廊藝術品為名。2001年畢業於紐約的視覺藝術學院。 2011年為美國DC漫畫描繪過多本漫畫書封面，獲得七個Eisner獎另外他為Prada所製作的 ESPN和Atlantic Records都頗為盛名。他的作品被收錄在多項合集裡，紐約雜誌曾將他與美國知名畫家巴里斯(Maxfield Parrish) 作為比較，紐約插畫家協會也頒與一個金牌。

Lot 1014

JIA Jing De 賈景德（1880-1960）字煜如，號韜園，山西澤州府沁水縣人（今山西晉城市沁水縣人）。晚清末科進士，中華民國政治人物，曾任行憲後第2任考試院院長。書法尤擅顏體，筆力雄厚、典雅矞皇，在苗栗公館修行寺、臺北艋舺龍山寺、三峽祖師廟、孔廟至輔仁大學都可見其書法題字，並著有《韜園詩集》、《韜園文集》、《賈景德書舟山頌》、《賈院長書孔子廟明倫堂碑》、《秀才.舉人.進士》、《臺灣雜詩》、《沁水賈氏塋廟石刻文稿》等書，可見其在藝壇地位崇高，聲名遠播。

Lot 1167

JU Ming 朱銘（b. 1938）朱銘生於苗栗縣通霄鎮。本名朱川泰，童年時小名「九二」。上有五兄姐，為家中老么，家境貧寒。1953年在父親帶領下，到通霄鎮上的媽祖廟向雕刻師傅李金川拜師，1955年出師，1956年北上到基隆的佛具店工作。1968年拜雕塑家楊英風為師。早期以鄉土主題，如《牛》、《牧童》等雕刻出名，近期則以融合了中國哲學如《太極》等的現代雕刻名作。1976年在國立歷史博物館舉辦個展，廣受藝術界的重視。同年獲選台灣十大青年與國家文藝獎章。1978年，朱銘在日本東京中央美術館展出，作品《單鞭下勢》被日本雕刻之森美術館收藏。1981年獨自一人到美國紐約市學習，創作《人間》系列作品，成為生涯中最受讚譽的經典代表。1989年他與建築師貝聿銘合作，在香港中國銀行大廈前使用青銅為材質，創作《和諧共處》的人間系列作品，位於大樓入口大門的左側。1999年朱銘在台北縣金山鄉西勢湖成立朱銘美術館，收藏許多現代雕塑作品。2005年發表「人間系列－三軍」作品，包含了抗戰英雄、現代的陸、海、空三軍四種主題，整個創作時間歷時四年，作品總件高達數三百餘件。2007年開始，朱銘「人間系列」的色彩開始轉變，轉為白色。抽離了朱銘以往利用彩色的說明性與裝飾性來描述作品身分與情境的表現方式，宣示著朱銘的藝術創作，將以呈現更純粹的造型世界，更力求透視本質的材質語彙為新方向。 JU Ming was born in Tongxiao Town, Miaoli County, Taiwan. In 1953, at his father's instigation, he began learning with the famous craftsman for two years, LI Jin Chuan, at Mazhumiao in Tongxiao Town, where he studied wood carving. The following year, he secured gainful employment in a shop that dealt in Buddhist Tools, in Keelung. In 1968 he began his learning under YANG Ying Feng. Early in his career, he made a name for himself in the villages surrounding where he lived for his sculptures of cows and cowboys. More recently, his modern sculptures integrate the philosophy of Taiji. In 1976, he was widely regarded by art circles at a solo exhibition at the National History Museum. In the same year, JU was awarded one of ten medals for excellent youths of Taiwan. His international exhibition was held at the Tokyo Central Museum of Art in 1978 and his work collected by the Sculpture and Art Museum of Japan. In 1981 he went to study in New York, where the following year, in direct result of the tremendous success his Living World Series, JU experienced a major turning point in his artistic career. In 1989, he worked in conjunction with a famous architect to recreate the Living World Series, cast in bronze, to stand in front of the Hong Kong Bank of China.

Lot 1109

149

Joan Cornellà 朱安．葛明尼拉（b.1981） 1981年生於西班牙巴塞隆納。從藝術專業畢業後，曾與多家出版物合作，如La cultura del Duodeno、El Periódico、Ara，並曾為紐約時報繪製插圖。Joan Cornellà自2010年起在社交媒體上發布漫畫，原本是以繪製“正常”的諷刺短篇漫畫維生，直至2012年10月在自己的部落格中貼出一幅風格迥異的漫畫，引起不少迴響。他的作品內以日常男女作為主角，緊皺著眉頭的同時卻又帶著令人發寒的微笑；畫中的主角們在面臨黑暗、流血暴力的事情時，以各種荒誕可笑的方式回應。他以2009年獲得Josep Coll漫畫獎第三名，隨後出版自己創作的畫集，作品也出現在雜誌上。而他最厲害的地方在於純粹的插圖創作，不加任何的文字，也更能讓觀者去感受他想要在畫中傳達的意念。他現在仍在自己的網站上持續發布作品，引起網友熱烈回應。

Lot 1013

KAWS (Brian Donnelly) 布萊恩．唐納利（b. 1974） Kaws生於美國新澤西州，本名布萊恩．唐納利，現生活和工作於紐約布魯克林。曾於紐約視覺藝術學院學習並專精於插圖，並於1996年取得該校學士學位。曾擔任過迪士尼公司動畫師。身為街頭藝術創作者的KAWS經常直接創作於街頭既有的廣告之上，試圖顛覆其原始意象。1999年，KAWS與日本品牌realmad Hectic以及Bounty Hunter合作的小型乙烯基玩具《同伴》在流行藝術的商業圈引起了潮流，KAWS 隨後製作的《同伴》之數種衍伸版本更在世界各地的美術館展出。藝術家持續與各知名品牌合作推出的商品均極俱話題性，更使得更動既有的知名人物角色並加上XX圖樣的創作模式成為他的註冊商標。當今活躍範圍從美國紐約擴及至日本東京、英國倫敦、法國巴黎等歐洲及亞洲城市。 KAWS, Brian Donnelly, was born in New Jersey, now lives and works in Brooklyn, New York. He studied illustration at School of Visual Arts in New York, and obtained the Bachler’s degree in 1996. He used to be an animator of Disney. As a street artist, KAWS often work directly on the existing street commercials which subvert the original image. In 1999, the small vinyl toys “Companion” by KAWS made with the collaboration with Japanese Brand realmad Hectic and Bounty Hunter had cause a trend in the business sector of art. Many other various editions of “Companion” have been exhibited by the museums around the world. The art products that KAWS continues to make in cooperation with well-known brands garnered attentions with his trademark: the ironic modifications of familiar characters with XX pattern on them. The name KAWS is now active in New York, Tokyo, London, Paris, and many other cities in Europe and Asia.

Lot 1005

Lot 1137

KOIZUMI, Satoru 小泉悟（b.1983）小泉悟1983年生於日本宮崎縣，畢業於沖繩縣立藝術大學造型藝術研究所，2010年發表了一系列身著動物衣帽的小童木雕作品，極受各界好評。孩子們身著可愛的動物外衣，眼神卻卻透露著幾分困惑與孤獨，彷彿訴說著屬於孩童的迷惘。小泉悟藉由作品闡述，人在長大的過程中逐漸社會化，壓抑內心的本性與野性，失去最初的純真，內心喪失活力，因此希望藉由穿上動物樣貌的外衣回歸自然，重返生命之源，找回初心。小泉悟的作品具有高度辨識性，作品外表療癒可愛，內涵深刻的人文省思，以及手藝精巧的雕刻，使小泉悟迅速成為藝術新星，風靡美國、新加坡、台灣、韓國等地的藝術博覽會，各界積極收藏，創下多次售罄紀錄。 Satoru Koizumi was born in 1983 in Miyazaki ken, Japan, graduated from the Okinawa University of the Arts with a master's sculpture course. Satoru Koizumi presented a highly praised series of children wood carving works wearing animal costumes in 2010. Children all dressed in cute animal costumes; however, confusion and loneliness in their eyes tell children’s perplexity. Through art works, Satoru Koizumi expresses that people gradually socialize as growing up and lose what we have. People tend to suppress inner nature and wildness, and then lose original cuteness and vitality. Thus, Satoru Koizumi wants to return nature, go back to the source of life and find our hearts by wearing animal costumes. Satoru Koizumi’s sculptures are characteristic based on cute appearance, deep insight, and professional carving. As a result, Satoru Koizumi became famous and showed in art fairs of United States, Singapore, Taiwan, and Korea and so on; moreover, his works are popular and set multiple sold out records.

Lot 1016

150

KUSAMA, Yayoi 草間彌生（b. 1929）草間彌生被稱為日本現存的經典藝術家，出生於日本長野縣松本市，1956年移居美國紐約市，並開始展露她領先群雄的前衛藝術創作才華。曾與當代卓越的藝術家如安迪．沃荷、克勒斯．歐登柏格、賈斯培．瓊斯一起聯展。現居住在日本東京。她的創作類型非常廣泛：涵蓋繪畫、拼貼畫、雕塑、表演、電影、裝置、小說、詩歌和音樂。她十歲患病導致幻聽幻覺。在美期間正值激進主義時期，此後她的藝術停留在激進、商業和反思的層面上。她認為網狀結構像徵富有生機的生命本質。1966年充滿神秘感的《無限鏡屋》裝置作品，反映了生命力的無限廣博以及不可把握性。她對自己的藝術經歷描述為：分解和積聚，增值和破碎，是對自己的淹沒和對無形宇宙的回想。返日後用多種形式和材料探索無此境的網狀結構。她的藝術作品蘊含獨特的感知經驗和不可觸摸的神秘。 She was called the classic artist still alive in Japan. She was born in Matsumoto City in Nagano, Japan. In 1956 she moved to New York, U.S.A. and began to show her unique avant-courier artistic creation which takes a dorminant place. She once held exhibition with some current brilliant artists such as Andy Warhol, Claes Oldenburg and Jasper Johns together. She lives in Tokyo in Japan now. She has a wide artistic practice, including painting, collage, sculpture, acting, filming, decorating and writing novels, poems and music. When she was ten years old, she got acousma and heteroptics because she was ill. When she was in America, it was the period of radical, commercial and retrospective. She thinks that the net form means the vividness of life. In 1966 her decorating work “Endless Mirror Room” reveals the endless and the uncontrollable of life.

Lot 1001

LANG Jing Shan 郎靜山（1892-1995）浙江蘭溪人，中國最早的攝影記者。郎靜山創立的集錦攝影，在世界攝壇上獨樹一幟。一生酷愛攝影，共有1000多幅次作品在世界的沙龍攝影界展出。曾經獲得美國紐約攝影學會頒贈的1980年世界十大攝影家稱號。他是以中國繪畫的原理，應用到攝影上第一個人。

Lot 1175

LEE Chi Mao 李奇茂（b. 1925）生於中國安徽省渦陽縣。復興岡大學美術系畢，韓國檀國大學文學博士。1976年擔任國立台灣藝術大學美術系專任教師及系主任。1977年獲韓國檀國大學設立「李奇茂畫伯獎學金」；1987年，獲美國舊金山市訂定11月29日為「李奇茂日」。李奇茂畫風獨特，一氣呵成，作畫筆酣墨飽，善用節奏和韻律表現時間速度和聲音。作品除了表現出水墨既有的技法外，他能順應時代變化，反映市井小民現實生活，藉由他簡單、隨意的筆端，充分展現基層民間生活，同時將水墨畫與台灣鄉土文化融為一體。作品曾獲第七屆國家文藝創作獎及第二屆中山文藝創作獎殊榮。

Lot 1156

Lee was born in Anhui, China. He graduated from the Dept. of Fine Arts of Fuxingang University, after that, he got PHD of Literature of Dankook University in Korea. In 1976, he became full-time tutor as well as chairman of department of National Taiwan University of Arts. In 1977, Scholarship of LI Chi Mao was set up of Dankook University. Day of LI Chi Mao is set on Nov.29th by San Francisco in USA in 1987. LI’s unique painting skill, line in drawing with the sound of rhythm and rhyme. His artworks are full of ink painting skills, with time passing by, reflecting real life of everyday people. He was awarded the 7th Creation of National Arts and the 2nd Chongshan Arts Award.

LEE Shi Ch 李錫奇（1938-2019）

Lot 1029

151

Lot 1030

李錫奇1938年出生於金門古寧頭，畢業於台灣省立台北師範學校（今國立台北教育大學）藝術科。1958年與前輩陳庭詩、楊英風等人共組「現代版畫會」，亦為「東方畫會」中後期重要成員。早年以達達派及歐普派的藝術思維展開其創作實踐，將牌九、骰子等現成物轉換為創作媒材，是1960年代最早運用民間賭具進行「後現代」創作的藝術家。李錫奇的創作以風格多變著稱，除了融合東方傳統與西方現代思潮，創作形式從版畫、水墨、抽象書法、漆畫、複合媒材至裝置皆有涉獵，甚至與文學界現代詩人多次跨領域合作，在台灣藝壇有「變調鳥」的美名。

LI Mei Shu 李梅樹（1902-1983）台北三峽人，專長油畫。1918年入台北國語學校師範部，1928年赴日深造，進入東京美術學校西畫科。學成回國後，與畫友創立台陽美術協會（1934）及中國油畫學會（1974）。李梅樹作品曾多次入選台展及省展，並且於1935年獲第九屆台展及特選總督獎。此外，他亦任教於國立藝專、中國文化大學及國立台灣師範大學。1983年逝世，李梅樹美術館於1990年在三峽故鄉成立，其寫實而獨特的畫風及描繪鄉情的作品，成為台灣西洋美術史的佼佼者。 Known for his realistic landscapes for his homeland, Li Mei-shu was one of Taiwan's most outstanding painters in the Western style. After graduating from the Taipei Normal School in 1928, Li went to Japan to study at the Tokyo Fine Arts School. After returning to Taiwan, he founded the Taiyang Fine Arts Association and China Oil Painting Association with a group of artists. Li's works have been selected for the Taiwan Provincial Fine Arts Exhibition in 1935. He was a professor for many years at the National Taiwan Academy of Arts, Chinese Culture University and National Taiwan Normal University. He died in 1983. His memorial museum was opened in 1990 in San-shia.

Lot 1093

LI Shih Chiao 李石樵（1908-1993）台北縣新莊人。1922年讀台北師範學校，受教石川欽一郎，1927年入選台展後持續入選，1929年畢業後赴日，受陳植棋照顧入「川端畫學校」、「本鄉洋畫研究所」，1931年經多次應考入東京美術學校五年制油畫科，1933年第七屆台展西畫科特選並獲大阪朝日新聞社設置的朝日賞，1935年東美畢業後續留日本。1936年台陽展《橫臥裸女》被禁展出，1941年為首位獲得官辦文展「免審查」資格的台籍畫家。 1958年在台北市中山堂舉辦個展，1974年自師大退休並在文化學院及國立藝專兼課。1984年其旅居美國拓展玫瑰花園與櫻花兩系列，其玫瑰花園題材極適合高彩度的寫實風格，再者近景玫瑰花，發揮描繪靜物多年的功力，這類作品不見拘謹，頗為富麗堂皇。 LI was born in Xinzhuang, Taipei County. In 1922, LI educated at Taipei Normal School, and he went to Japan in early 1929, aspiring to study at the Tokyo School of Fine Arts. At the Tokyo School of Fine Arts LI studied with Okada Saburosuke from 1933. In 1942 LI was granted the honor of being‘Exempt form Exam’in the official exhibition in Japan, as the first Taiwanese who had ever achieved this honor. Nude of 1936 and Chorus of 1943 deserve special attention. Nude was intended for the 2nd Annual Exhibition of the Nanyang Art Association, a local art group consisting mainly of Taiwanese painters founded in 1934. LI accepted the appointment as full professor at the National Taiwan Normal University in 1960, and improved his financial improvement. Since LI retired from the National Taiwan Normal University in 1974, LI captured the blossoms and flowers in an effortless manner, as seen in Cherry Blossoms of 1968 and Rose Garden of 1988.

Lot 1092

Lot 1095

LI Yi Hong 李義弘（b.1941）李義弘，字在川，1941年出生於台灣台南。國立藝專美術科畢業後，曾任教於基隆市立中山國中、大德國中、國立台北藝術大學美術系。求學期間曾師事高一峰、傅狷夫、胡克敏等由大陸來台的水墨大師，奠定扎實的傳統水墨繪畫技巧，畢業後追隨台灣文人水墨大師江兆申，找回繪畫創作的感動。李義弘的山水畫，由寫生的概念轉化摹擬心中所見之風景，取攝影視角，構圖自由且靈活，筆法蒼勁，線條單純，墨染、紙質呈現出山、色、光、影、雲、氣，繪出屬於台灣島嶼獨具的山水畫。李義弘曾說：「天地通通沒有邊界，對於一個畫家來說，尋求大自然是非常自由的。」他熱愛旅行，曾在遊歷印度和尼泊爾後，發表「印北行腳」專題展，九○年代數度遊桂林、黃山、蘇杭，畫風皆產生變化。出版《自然與畫意》影響台灣八○年代水墨畫。 Lot 1080 Lot 1148

LIANG Han Tsao 梁寒操（1898-1975）原名翰藻，號君默、均默，廣東高要人。國民革命軍成都中央軍校中將政治總教官，後任國民黨中央執行委員、中央宜傳部部長。四歲識字，六歲能書，有“高要才子”之稱。渡臺後任中華日報及中國廣播公司董事長，退休後任國策顧問。草書迭宕奇逸，評價極高。

Lot 1173 152

LIANG Yi Fen 梁奕焚（b.1937）台灣彰化人。台北師範藝術科畢業。1958-1963年師從李仲生研究現代藝術，曾任中部美術協會會員。中華民國現代版畫會員。中華民國雕塑學會會員。1982年發起創立現代眼畫會。1985年任李仲生現代藝術文教基金會理事。1987年設繪畫工作室於紐約蘇活區。他的畫作先後創作出五百號、一千號甚至二千號作品，獲得收藏家及畫廊的青睞，大量收藏他的創作。梁奕焚於紐約創作，在東方與西方的衝擊下，創作獨樹一格，極具東方地域特殊風格。 Liang Yi Fen was born in Zhanghua, and graduated from the art department in National Taiwan Normal University. He studied contemporary art with Lee Zhong-sheng during 1958 to 1963, and once appointed the fine arts association member, Republic of China modern print member. Republic of China sculpture academic society member. In 1982 initiated the Modern Eye Group, in 1985 he was appointed as the director in Li Chun-shan foundation. In 1987 he established a studio in New York SOHO. His successively creates painted No. 500, No. 1,000 even No. 2,000 works, and these works are massively collect by collectors and galleries, Liang Yifen creates in New York, with the impact from east and west, he created his own unique style, extremely has the Eastern region special style.

Lot 1143

LIAO Te Cheng 廖德政（1920-2015）臺中豐原人。入「川端畫學校」時與張義雄同為室友並考取東京美術學校油畫科。期間受教於南薰造、安井曾太郎等日本知名畫家。曾任教於臺北師範學校並於開南商工教職長達四十年。多次省展得獎並參加青雲美展；與張萬傳、洪瑞麟、金潤作、陳德旺、張義雄等共組「紀元美術會」。晚期推動「二二八紀念美展」。父親失蹤於二二八事件對廖德政日後創作影響深遠。廖德政創作題材以臺灣風景、靜物為主，用色柔和。 LIAO was born in Taichung. Instead of choosing a medical school as his parents’ expectation, he studied in Kawabata Drawing Institute. While he was in Japan, he lived with CHANG Yi Hsiung, and studied under famous Japanese painters. He had won many prized in his youth. He was also selected into CingYun Art Exhibition. Later on, with CHANG Wan Chuan and HUNG Jui Lin, LIAO established Era Arts Association. He loves to paint countryside sceneries and everyday objects. He also constantly reworks on finished works to bring the work to perfection.

Lot 1091

Lot 1094

LIU Kuo Sung 劉國松（b. 1932） 1932年生於安徽。1956年畢業於國立台灣師範大學藝術系。五月畫會創始人之一，台灣現代繪畫倡導者，中國現代繪畫領袖人物。曾任香港中文大學藝術系主任，美國愛荷華大學客所所長。世界各地邀請其舉辦個展，並收藏其作品，曾獲得多次國際獎項。劉國松一生致力於現代水墨的推廣與傳承，打破既有的水墨觀念，無疑是現今全球藝術界最有影響力的人物之一。劉國松早年提出了「革筆的命」、「革中鋒的命」等主張，質疑用筆的重要性，以及藝術之於生活的關聯性，對當時傳統的水墨藝術造成劇烈的影響。為了實驗水墨的不同可能性，劉國松從媒材開始作為第一步，最著名的技法便是在紙張上墨後，撕去紙筋留下白線的「抽筋剝皮皴」，而劉國松為了達成理想的效果，甚至因此發明了「劉國松紙」。後來在參觀九寨溝後，又以建築用的描圖紙，利用其不吸水的特性，發展九寨溝系列絢爛迷人的水面波光，同樣為觀者驚豔。劉國松以現代水墨在國際藝壇上成為矚目的焦點後，他計畫以不同的方式，讓現代水墨得以在世界各地萌芽，從台灣作為起點，最後在全世界開花。近年來，他不辭辛勞地走訪各地，以學術演講的方式，激勵了萬千學子。除此之外，更進一步將自己苦心經營、多方嘗試的各種新的水墨技法，透過錄影、文字等方式公諸於世，讓水墨藝術的後起之秀得以一窺奧秘，近來藝術學者多稱劉國松為「現代水墨之父」。 Born in Anhui, LIU graduated from the National Normal University art department, and initiated the Fifth Moon Group, arduously promoting the Taiwan modern art movement. When he was twenty-seven years old, he deeply felt the importance of national characteristics and cultural traditions, he was like a man on a mission, to find for twentieth century Chinese drawing a new tradition to be spared no effort, and gave brush ink in traditional Chinese paintings a new definition, and promoted the theory of "texture with the brush". This kind of Chinese traditional painting doesn't need a pen to be painted, although receiving criticism at the time, at present, including mainland painters, critics as well as art historians, have all accepted this idea. LIU Kuo-sung also puts to this kind of theory with, in his individual practices, innovating with the color and ink techniques for more than 30 years, creating many kinds of different forms and individual styles.

Lot 1075

153

LIU Bo Zhong 劉伯中（1912-1994）劉伯中，湖南醴陵人，別號仲石。劉詠堯之弟。1933年5月南京中央陸軍軍官學校第八期交通科畢業。歷任國民政府軍政部交通兵團連、營長，南京交警總隊副大隊長、大隊長，交警第六團團長。1948 年，劉伯中任國防部少將部員。同年冬，淮海戰役爆發，劉伯中調任徐州“剿總”(總司令劉峙)前進指揮部(主任杜聿明)副參謀長，沒有到任。1949年，劉伯中到臺灣，1965年，劉伯中退役。1994年4月 14日，劉伯中病逝，終年82歲。5月11日，劉伯中安葬于臺北淡水縣北海墓園。 Lot 1184

LIU Ying Jian 劉影劍（b.1956） 1956年生於黑龍江，自幼喜愛繪畫，初中開始從師學習繪畫，1974年高中畢業，下鄉插隊到北安市趙光公社五年，在農村艱苦的環境下仍堅持作畫不斷，在畫家不斷的進取學習中，於1979年考入了現黑龍江哈爾濱藝術學院學習油畫四年，1983年在北安市舉辦個人畫展此展受到好評，在省、地、市級報紙和電視台都做了報導，在1983年至1989年中多次在國家級省級報刊雜誌發表油畫、版畫、連環畫作品二十多件，1989 年考入魯迅美術學院油畫碩士學位研究生。劉影劍長期堅持深入生活，反映時代的現實主義創作道路，多年的生活經歷，使畫家對生活有獨到的認識，在嚴格的學院式的訓練之後，在作品中灌入了他對生活的認識，理解思考，使他的作品不但反映當代人對生活的重新認識，還把法國優美傳統的技巧和新的理想協調的結合在一起。

Lot 1144

LU Yan Shad 陸儼少（1909-1993）又名砥，字宛若，上海嘉定縣南翔鎮人。1926年考入無錫美術專科學校，1927年考入無錫美專學習，同年從王同愈學習詩文、書法；次年師從馮超然學畫，並結識吳湖帆，遍遊南北勝地。1956年任上海中國畫院畫師。1962 年起兼課於浙江美術學院，1980年在該院正式執教，並任浙江畫院院長。擅畫山水，尤善於發揮用筆效能，以筆尖、筆肚、筆根等的不同運用來表現自然山川的不同變化。線條疏秀流暢，剛柔相濟。雲水為其絕詣，有雄秀跌宕之概。勾雲勾水，煙波浩淼，雲蒸霧靄，變化無窮，並創大塊留白、墨塊之法。兼作人物、花卉，書法亦獨創一格。陸儼少的作品大部分是對古代傳統的消化和吸收。返鄉途徑三峽的經歷，引發了他的創新意識，開始將以前局部改造傳統轉換為有意識地建立個人風格。1956年，任上海中國畫院畫師。1961年至1966年，赴浙江美術學院兼職山水畫教席；在此期間，其繪畫個性得以發展，最終在晚年形成了自己獨特的風格。 Lot 1182

LUO Fu 洛夫（1928-2018）莫洛夫，筆名洛夫、野叟，生於中國湖南省衡陽，臺灣詩人。1954年與張默、瘂弦共同創辦《創世紀》詩刊，並擔任總編輯。曾任教東吳大學外文系、北京師範大學、中國華僑大學、廣西民族大學、山西中北大學等大學。作品被譯成英、法、日、韓、荷蘭、瑞典等文，在現代詩的領域中廣為討論，被稱為「詩魔」，其詩作也體現臺灣現代詩的發展進步。曾獲中國時報敘事詩推薦獎、中山文藝創作獎、吳三連文藝獎、國家文藝獎等獎項。

Lot 1164

154

LUO Jia Lun 羅家倫（1897-1969） 1897年生於江西，字志希，中國教育家、歷史學家，「五四運動」的命名者。1917年與傅斯年等創刊《新潮》月刊，協助胡適、錢玄同等文學改革運動。1919年五四運動中，撰寫《北京學界全體宣言》，為學生領袖之一。1920年留學美，在四大國五名校研讀七年，研究歷史哲學與國際關係。1926年回國後，任教於國立東南大學歷史系及附中。稍後以一介書生投筆從戎參加北伐軍。1928年，清華學校更名國立清華大學，出任首任校長。1932年任國立中央大學校長，廣攬名師，興辦學科，興建校舍，使中大成長為名副其實的最高學府。抗戰勝利後擔任聯合國教科文組織籌備會議代表。1947年，國民政府特任羅家倫為駐印度特命全權大使，並兼世界各國駐印使節團團長。1950 年由印度到臺。先後出任中華民國總統府國策顧問、國民黨中央評議委員、國民黨黨史會主任委員、考試院副院長等職。1969年12月25日在台北逝世。 Lot 1183

Mark RYDEN 馬克．萊恩（b.1963） 1963年出生於美國奧勒岡，被媒體評為當代通俗藝術的代表人物。從小就喜歡畫圖的Mark Ryden 小學時候經常在畫小狗時把小狗的腸子大剌剌地露出來，或是在自畫像裡幫自己在額頭上加上第三隻眼睛。這樣有失甜美可愛的作品當然讓老師們大驚失色，想把他交給兒童心理治療師。還好Mark Ryden出生於藝術氣息濃厚的開明家庭，未因外界的眼光而壓抑了他的創作。Mark Ryden 的插畫作品同時展現了「可愛童稚」和「古怪詭異」兩種特質，風格特殊，使觀者一見難忘，迅速判別是Mark Ryden所作。除了藝術創作，他還參與商業設計，麥克•傑克森1991年的專輯《Dangerous》就是Mark Ryden的設計。他的畫作也時常登上藝術相關的雜誌封面，所以其實我們對Mark Ryden的作品並不陌生，隨處留意都能瞥見。Mark Ryden1987年於Art Center College of Design畢業，首個個人藝術展「The Meat Show」發表於1998年。

Lot 1006

MIYAZAKI, Hayao 宮崎駿（b.1941）日本動畫師、動畫導演、及漫畫家。大學畢業後踏入動畫製作工作，與高畑勳共同創立受到國際上廣泛讚譽的動畫工作室－吉卜力工作室。宮崎駿的作品獲得相當大的成功，與美國動畫師華特‧迪士尼（Walt Disney）、英國動畫師尼克‧帕克以及美國動畫師羅伯‧湛米基斯相提並論，也被《時代雜誌》認為是最具影響力的人物。其中《神隱少女》獲得2002年的奧斯卡金像獎：奧斯卡最佳動畫片獎，是亞洲電影的輝煌成就。

Lot 1102 155

Lot 1111

Lot 1114

MURAKAMI, Takashi 村上隆（b.1962）村上隆1962年出生於日本東京，並於東京國立大學完成美術學士、碩士和博士學位。1996年於東京創立HIROPON工廠，其後演變為大型藝術創作和藝術管理的Kaikai Kiki有限公司，除了作品和項目的製作和推廣上之外，更管理年輕藝術家的職業生涯、組織國際藝術項目。村上隆同時也身為策展人、企業家，以及日本當代社會的觀察員。在1996年第二屆亞太三年展《Present Encounter》中，村上隆以作品《Mr DOB》發表《超扁平宣言》。他說到：「將來的社會、風俗、藝術、文化，都會像日本一樣，都變得極度平面（twodimensional）……今天，日本電玩和卡通動畫最能表現這種特質，而這些又在世界文化中具有強大的力量。」超扁平（Superflat）自此成為村上隆的代名詞。村上的作品已廣泛地在世界各地巡迴展覽，如波士頓美術館（2001年）、洛杉磯當代藝術美術館（2007年），先後於紐約布魯克林博物館、法蘭克福現代藝術美術館和畢爾包古根漢博物館舉辦回顧展（2008、2009年）。並於2010年在法國凡爾賽宮展覽。 2019年在香港大館當代美術館舉辦個展，擔任開幕首展。村上隆的作品也獲得流行時尚產業的青睞，與Louis Vuitton合作長達十多年，為其創作的彩色圖案手袋成為品牌經典紋樣之一，2019年與歌手怪奇比莉(Billie Eilish b.2001)合作推出MV，2020年也與Uniqlo聯名衣服吸引眾多粉絲。 Takashi Murakami was born in 1962 in Tokyo, Japan, and received his BFA, MFA and PhD at Tokyo National University. He founded a HIROPON factory in Tokyo in 1996, which then became Kaikai Kiki Co., a large-scale art production and art management corporation. Kaikai Kiki Co. supports and fosters young Japanese artists. Murakami is an artist, also curator, entrepreneur, and critical observer of contemporary Japanese society. In 1996, Murakami gave a speech titled “Superflat” as well as published his work MrDoB in the second Asia triennial exhibition, Present Encounter. He mentioned “In the future, society, culture and art will become two-dimensional like Japan. Today, Japanese video games and anime present this characteristic most and they are influential in the world.” Then, “Superflat” became a synonym for Murakami. Murakami's works have been shown frequently in leading institutions and exhibitions around the world, such as Museum of Fine Arts, Boston (2001), Museum of Contemporary Art, Los Angeles (2007). A retrospective presents at Brooklyn Museum, Museum für Moderne Kunst, and Guggenheim Museum Bilbao in 2008 and 2009. An exhibition opened at the Château de Versailles, France in 2010. Takashi Murakami held a solo exhibition at Hong Kong Tai Kwun Contemporary as the opening of the museum in 2019. Takashi Murakami’s works are also popular in fashion industry, for instance, he has cooperated with Louis Vuitton for more than ten years, and colorful iconic LV logo print Murakami redesigned has became one of Louis Vuitton’s classic patterns. Besides, Murakami designed a music video “you should see me in a crown” for Billie Eilish (b.2001) in 2019. Uniqlo also made collaboration with Murakami and attracted many fans in 2020.

Lot 1004

Lot 1010

Lot 1018

Lot 1019

Lot 1142

NARA, Yoshitomo 奈良美智（b. 1959）生於日本青森縣弘前市，現居住於東京。伴隨奈良美智成長的是黑膠搖滾唱片、國外的畫冊與繪本，這些生活泉源，促使未來創作的發展。畢業於愛知縣立藝術大學，取得美術碩士學位後，於1980年代末遠赴德國杜塞道夫藝術學院留學，一生不斷從東西文化汲取靈感。早期的作品以插畫性質為多，藉獨特的大眼人像在超扁平藝術家中脫穎而出，天真無邪的小孩配上斜視的眼神，憤世嫉俗的表情，拿著刀子或香菸等危險物品，留下強烈印象。在1990年代後期，他也開始創作立體作品，並採用不同媒材拼組的方式。2018年在東京舉辦30年回顧展，2020年在洛杉磯藝術博物館舉辦大型個展。今日他的作品已被許多博物館收藏，如紐約現代藝術博物館、芝加哥美術館以及日本大阪國立國際美術館。 Yoshitomo Nara was born in Hirosaki City, Aomori, Japan and lives in Tokyo now. Vinyl records, foreign albums and art books accompanied Nara growing up, and these life sources pushed Nara to develop his creation in the future. Nara received his B.F.A. and an M.F.A. from the Aichi Prefectural University of Fine Arts and Music, and then studied at the Kunstakademie Düsseldorf, Germany in the late 1980s. Nara continues to gather inspiration from Eastern and Western culture throughout his life. Most of his early works were in illustrations, and Nara stood out among Superflat artists with unique big-eyed portraits. Innocent child with piercing eyes and resentful look hold dangerous items like a knife or cigarette, and leaves a strong impression. In the late 1990s, Nara also began to create three-dimensional works, and implement different media into his artworks. Nara held a 30-year retrospective exhibition in Tokyo in 2018 and a large-scale solo exhibition at the Los Angeles County Museum in 2020. Today, his works are housed by well-known museums like the Museum of Modern Art in New York, The Art Institute of Chicago and The National Museum of Art, Osaka.

Lot 1012

Lot 1020

Lot 1021

Lot 1023

Lot 1110 156

NAKADA, Ikumi 中田郁美（b. 1982）中田郁美出生於1982年，創作並生活於日本埼玉縣，畢業於Vantan設計研究所。作品獨具個人特色，主題圍繞著童趣，尤其擅長描繪孩童表情，極其生動可愛，引起觀者童年回憶的共鳴，極富日本韻味的風格深受大家喜愛。藝術作品活躍於日本、台灣，在日本各地多次個展，也曾在紐約畫廊展出。

Lot 1015

OU Hao Nien 歐豪年（b. 1935）出生於廣東吳川，室名移竹軒，畢業於嶺南藝院，1970年定居台灣，任中國文化大學美術學系，藝術研究所專任教授，國立台灣藝術大學研究所兼任教授，中央研究院嶺南美術館榮譽館長，歐豪年文化基金會董事長，香港珠海大學董事，香港(海外)文學藝術家協會永久榮譽會長，美國國際科技大學董事，美國舊金山中華藝術學會監事長。歐豪年擅以山馬筆作畫，畫中山水岸壁的層次自沉鬱轉至紋理清晰分明，展現出微妙的墨彩和墨色的「濃、淡、幹、濕、」等多變效果，他也經常使用中國傳統的留白來傳送畫中虛無的精神面涵意，作品充滿啟發性，更充滿生命力及情感，令人易於共鳴。一生創作與教學，提拔後進，藝壇公認為嶺南畫派傳人。

Lot 1157

Lot 1158

Lot 1165

PANG Jiun 龐均（b. 1936） 1936年出生於上海的文人世家和藝術家庭，十三歲時，考入杭州美院，再轉入北京中央美術學院，十八歲即以優異成績畢業，為當時最年輕的大學畢業生，從此開始專業創作的藝術生涯。1987年定居臺灣，於國立臺灣藝術大學擔任教授，任教至今將近二十年，展出油畫個展三十餘次。在油畫色彩運用上，展現西洋畫的熱情及爆發力，並結合中國人文，東西融合展現出獨特的意境，在畫技上走向平面二度或二度半的空間，線條既有西畫所強調形體的力度，也有東方畫一波三折的含蓄意境。1997年，列入英國劍橋世界名人錄（IBC），2004年更榮獲IBC終生成就獎，作品廣為兩岸三地多處知名博物館、美術館及藝術學院所收藏。

Lot 1042

Lot 1043

Pang Jiun was born in an artistic family in Shanghai. He studied at Beijing Central Art Institute, and graduated with outstanding grades at the age of eighteen, which became the youngest college graduate. Since then, Pan initiated his professional art career. Pan Jiun moved to Taiwan in 1987. Till now, he worked as a professor for almost twenty years. Upon oil painting, Pan Jiun presents passion and explosion of Western art, and combines Chinese elements into it. His limning contains dynamic of Western painting, and inner poetic aura of Oriental painting. In 1997, Pan was listed into the International Biography Center, Cambridge, England (IBC); moreover, received its “Lifetime Achievement Award” in 2007. His works are widely collected by many respectful museums, galleries, as well as art colleges around the world.

PANG Yong Jie 龐永杰（b.1968） 1968年生於山東東明，1990年畢業於山東師範大學美術系，1991至1993年研修於中央美術學院。油畫、雕塑作品飽滿且富有張力，簡約的處理方式中洋溢著東方之美，豐腴圓潤的形象展現大氣而現代的畫風，1995年於中國美術館辦個人油畫展。近年來他創作佛教題材的水墨作品，對如來、金剛、觀音、佛教故事重新解讀，展現獨特的東方韻味。作品在兩岸三地頻繁展出，2018年台灣涵碧樓「生活有愛」個展，2018年北京荼摩「龐永杰個展」。

Lot 1145 157

PEYO(Pierre Culliford) 沛優（皮耶爾．居里福爾）（1928-1992）為比利時漫畫家，因為他的小侄子一直發不清「皮耶爾」這個音，為了省事而將其所發之音「沛優」改成筆名。1984年曾獲法國昂古萊姆國際漫畫節青年獎。著名作品有《藍色小精靈》（The Smurfs）、《約翰與皮威》（Johan and Peewit）。《藍色小精靈》藍色小精靈是 1958 年由比利時漫畫家 Peyo（本名 Pierre Culliford）與其妻子共同創作的一部漫畫，後來在 1981 年由美國的電視公司購買版權並製作了美國版的藍色小精靈卡通，播出後大受孩子們的歡迎，台灣就引進美國版的卡通，並加上中文配音，以「藍色小精靈」的譯名播出。2011 年、2013 年與2017年陸續推出 3D 版的電影，陪著各個時期的孩子度過快樂童年。

Lot 1026

PICASSO, Pablo 巴勃羅．畢卡索（1881-1973）全名巴布羅．路易茲．畢卡索（Pablo Ruiz PICASSO），1881年生於西班牙，自幼受教於身為藝術教師的父親。畢卡索在所有二十世紀的藝術家中，肯定是知名度最高的，以他為主題的書籍、報導、影片不計其數。畢卡索為西元1900年開始就一直站在歐洲藝術的最前線，他終躋身成為現代藝術最有影響力及獨特創造力的一位藝術家。 Pablo Ruiz PICASSO born in Malaga on October 25, 1881. Picasso was under his father’s instruction and became artist. Picasso is no doubt the most famous artist of the 20th Century. In his artistic life, lasting more than 75 years, he created tens of thousands of works, including paintings, drawings, sculpture, original lithographs, etchings, linoleum cuts and ceramics. No single artist has had a greater influence on Modern Art and has changed art more profoundly in the 20th Century than Picasso did.

Lot 1024

Lot 1025

SAITOH, Satoshi 齊藤智史（b. 1982） 1982年出生於日本長野縣，2006年畢業於東京設計大學設計學院。多次在日本美術館以及畫廊舉辦個展，作品多以木材進行雕刻，並用日本畫使用的顏料和炙燻技法對其進行著色。藝術家形容每棵樹都住著一位精靈，將精靈的型態具象化進而雕刻出來是他創作的來源，同時著眼於人類記憶的含混和懷舊。近年來，在亞洲迅速流行起來，曾在韓國、台灣展出，深受藏家喜愛。

Lot 1106

SAKURA, Momoko 櫻桃子（1965-2018）日本女漫畫家、作家，出生於靜岡縣，家中經營蔬果店。1984年正式出道後，1986年以筆名「櫻桃子」，以童年時期的經歷為藍本開始繪畫漫畫《櫻桃小丸子》。櫻桃子生動、詼諧的寫作手法，令《櫻桃小丸子》在日本及日本以外的亞洲地區都受到歡迎。1984年在靜岡英和女學院短期大學修讀國文科時，在《RIBON ORIGINAL 冬季號》以一篇以教師為主題的短篇出道。1986年開始在雜誌《RIBON》連載漫畫《櫻桃小丸子》。1991年發表第一本隨筆集《桃子罐頭》（集英社）。1999年創立雜誌《富士山》（新潮社）。2005年為出道20周年的紀念、到各地進行原畫展「櫻桃子世界 20年之軌跡展」。2006年時為《櫻桃小丸子》電視真人版連續劇編輯第一話劇本。2002年與長男共著繪本《魔手大冒險》，當時長男的筆名為「櫻哈蜜瓜」。2018年8月15日，櫻桃子因乳癌離世，終年53歲。

Lot 1104

158

Salvador DALI 薩爾瓦多．達利（1904-1989）達利1904年出生於西班牙東北部加泰隆尼亞，為超現實主義的代表藝術家。在近代藝術史的地位上與畢卡索、米羅齊名，為西班牙近代藝術三大代表人物。達利的作品充滿活力、加上意想不到的變形，其特殊的創作風格描繪出不可思議的超現實世界早已獨樹一格。達利的創作領域極為寬廣，如：繪畫、雕塑、建築、文學、編劇、導演皆有精采演出，其中雕塑無疑是達利作品中最具代表性的藝術創作。 Salvador Dali was born in 1904 in Catalonia in Spain; he was a representative artist of surrealism. He was one of the three Spanish artists, besides Pablo Picasso and Joan Miro to share the same importance in the art history. Dali's works were full of vitality plus unexpected deformations; his special creative style portrayed an incredible surreal world. Dali’s creation field was expansive and included painting, sculpture, architecture, literature, chorographer, film. Among them, sculpture is undoubtedly the most representative artistic creation in Dali's works.

Lot 1107

Lot 1108

SHIY De Jinn 席德進（1923-1981）四川南郜縣人。就讀於杭州藝專，受教於林風眠、吳大羽而發展出粗黑線條的繪畫風格。1941年受教於留法畫家龐薰琹和馬諦斯影響而喜歡強烈色調。後赴美考察，受普普、歐普、硬邊藝術的影響，並在作品中加入歐普和硬邊主義的形色表現。晚期回歸到他最原始而自然的本土家鄉。立志以中國人的情感來表達中國的藝術，開始全島寫生，描繪民間風物與生活百態。席德進的繪畫創作融合傳統與鄉土、使用水彩、水墨與油畫，兼納東方與西方繪畫的特長，開創出他個人雄渾動人的獨特風格。獲中山文藝創作獎，並舉行個展多次，作品廣為各界收藏。 SHIY De Jinn was born in Szechwan. He learned under Pang Syun-Chinn who had studied in France. SHIY followed Matisse’s color palette. He had experimented with Pop Art, Op Art, and Hard Edge, but he returned to country style with which he felt most comfortable with later period in his career. When he moved to Taiwan, he started to use folk matters and state of livelihood as his subjects in paintings. He united western and eastern media and styles to take Chinese art to a new dimension. He had held many exhibitions.In foreign countries, he started to think about the beauty of Chinese Art. SHIY De Jinn believes that art should reflect reality. At this time, he came up the idea of “present” and used it in his works. After he returned to Taiwan, SHIY De Jinn focused on studying Chinese Art. He uses Taiwan as his subject, such as traditional architectures in Taiwan and scenery. SHIY De Jinn takes his feeling and love from place and life as his inspiration and depicts Taiwan with devoutness.

Lot 1067

SORAYAMA, Hajime 空山基（b.1947） 1947年出生日本，1967年正式進入美術學院學習，學生時代即展現出色的藝術天賦。1969年被廣告公司雇用成為插圖畫家，1972年成為獨立自由插圖畫家，1978年筆下誕生出第一個機器人，1983年Sexy Robot系列作品使他聲名大噪。空山基的作品精緻唯美，想像力豐富，技法精湛，完美呈現女性的樣貌，因多件女性機器人作品色情意味濃重，故被譽為日本情慾機械藝術大師。作品極具現代未來感，利用金屬光澤表現在各種形體上。空山基也曾與多位知名藝術家合作，2009年與KAWS(b.1974)推出No future companion，2019與美國前衛藝術家丹尼爾•阿沙姆(Daniel Arsham, b.1980)合作展覽於日本東京，機械科幻與侵蝕斑駁的衝突驚艷眾人。空山基的熱潮跨及插畫、電影、時尚圈， 2014年，空山基受電影《星際大戰》製作人喬治盧卡斯(George Walton Lucas Jr., b.1944)邀請設計電影中的外星角色，2019年Dior於成都太古里舉辦之時裝秀，邀請空山基設計大型性感機器人，作為燈光表演之展場主視覺。 Hajime Sorayama was born in Japan in 1947, and had showed his outstanding artistic talents during his study at Tokyo's Chuo Art School since 1967. In 1969, Sorayama was appointed by an advertising agency as illustrator. Then he became a freelance illustrator in 1972 and drew his first robot in 1978, and Sorayama became renowned by Sexy Robot series in 1983. Hajime Sorayama’s works are known for his precise details, rich imagination, professional skills, and perfect depictions of women's appearance. Due to works of robotized women in erotic poses, Hajime Sorayama has been considered an erotic mechanical master in Japan. Sorayama’s works are modern and futuristic based on metallic materials. Sorayama has cooperated with many famous artists, for example, Sorayama present No future companion with KAWS (b.1974) in 2009. In 2019, Sorayama held an exhibition with American contemporary artist Daniel Arsham (b.1980) in Tokyo, the conflict between mechanical robots and eroded texture amazed the audience. Hajime Sorayama’s popularity spans illustration, film, and fashion. In 2014, Hajime Sorayama was invited by George Walton Lucas Jr. (b.1944), producer of Star Wars, to design alien characters in movie. In Dior’s 2019 Collection Event at Chengdu Taiguli, China, Sorayama was invited to design a big sexy robot as key vision and hold a light show.

Lot 1138

159

Lot 1139

Lot 1140

Lot 1141

TAJIRI, Satoshi 田尻智（b. 1965）日本著名電子遊戲製作人，1989年成立株式會社Game Freak，是個昆蟲採集和街機遊戲的愛好者，他將興趣結合，創造了《精靈寶可夢》系列遊戲於1996年正式發售，不久便開始暢銷，更得到任天堂的重視，公司正式步入軌道。之後《精靈寶可夢》更衍生一系列的跨界作品，除精靈寶可夢之外，田尻智也參與了其他的遊戲，如瑪莉歐系列和薩爾達傳說，其中動畫版精靈寶可夢的主角「小智」的命名就是來自田尻智本人。

Lot 1099

TANG Hay Wen 唐海文（1927-1991）生於福建廈門，自幼跟隨祖父習寫書法，1937年舉家遷居越南，因其對藝術的執著，於1948 年赴藝術之都巴黎遊學，他以自修的方式遊覽巴黎各大美術館，而於1955年首次舉辦展覽，之後陸續於歐美各國展出，1997年8 月台北市立美術館為其舉辦「作品回顧展」。於2002年9 月法國巴黎的亞洲藝術館舉行大型的回顧展，並於同年日本東京資生堂基金會也舉行了唐海文個展。完整地呈現其繪畫風貌，作品為多所法國現代美術館及私人收藏。

Lot 1072

TENG Pu Chun 鄧卜君（b. 1957）

鄧卜君，1957年生於台灣花蓮，1984年畢業於國立藝專（現今台灣藝術大學）。鄧卜君被譽為台灣當代水墨奇才，巧妙融合魔幻寫實的風格與傳統水墨技法，自言：「我常想，水墨現代是什麼？是把傳統唾棄、破壞或改革？但我都沒做，卻選擇和傳統共存對話，而後轉念轉換。」畫作主題雖以傳統山、水、樹為題材，卻在構圖造型上成功跳脫傳統，運用超乎現實的景觀挪移與多重視點的空間布置，保留山水畫的風雅，同時建構如真似幻的山水風景，成為魔幻寫實的當代山水意境。鄧卜君自小在父親的耳濡目染下，熟悉岩石肌理構造，觀察故鄉七星潭的硬砂岩，啟發他獨創的石頭畫法『搓點皴』，細膩描繪岩石的特殊質感，創造獨樹一格的風景。2014、2017展於紐約蘇富比， 2017 參加「香港水墨藝博INK ASIA」，2020台北名山藝術鄧卜君當代水墨圖誌。 Lot 1076

TEZUKA, Osamu 手塚治虫（1928-1989）手塚治虫，本名手塚治，是日本漫畫家、動畫製作人，也是醫學博士。因自幼喜愛昆蟲，故取了「手塚治虫」的筆名，由於「步行蟲」（osamushi）與「治」（osamu）的日文發音只差尾音「shi」，他便在名字後加上一「虫」字，漢字寫作「治虫」（osamushi）。手塚治虫是位多產的創作者，40多年的創作生涯中，共畫了400多部漫畫作品，及60多部動畫作品。其作品題材豐富多樣，包括兒童生活、科幻、偵探、歷史、傳說，文學、醫學、宗教、音樂、哲學…等，代表作如《藍寶石王子》、《森林大帝》、《原子小金剛》、《怪醫黑傑克》、《三眼神童》等。這些作品深深影響了後來的漫畫家的創作題材，所以手塚治虫被尊稱為日本漫畫之父、漫畫家之神。

Lot 1098

Lot 1112

Lot 1113

Lot 1115

160

TORIYAMA, Akira 鳥山明（b. 1955） 1955年出生於日本愛知縣名古屋市，是知名的漫畫家，以設計風趣幽默的角色人物著稱。代表作有《七龍珠》、《怪博士與機器娃娃》等，亦為《勇者鬥惡龍》、《Tobal No.1》、《超時空之鑰》、《藍龍》等著名遊戲擔當角色設定。其最著名的作品《七龍珠》一部是格鬥冒險漫畫，於1984年到1995年間在集英社《週刊少年Jump》週刊上連載，2013年開始發售全彩版，風靡全球歷久不衰，歷經數十年人氣仍然高漲，現今更是推出動漫、遊戲、設定集等相關周邊商品。

Lot 1100

USUI, Yoshito 臼井儀人（1958-2009）

Lot 1105

本名臼井義人，出生於靜岡縣，是日本的男性漫畫家、作詞家，代表作為《蠟筆小新》。1987年以《不良百貨公司物語》得到「新人賞」佳作。1990年，32歲的臼井憑藉在雜誌上連載長篇漫畫《蠟筆小新》而開始受人注目，該作品亦翻譯成多種語言在世界各地發行。1992年4月開始播放電視動畫版，成為至今少數的長壽動畫。1995年至1996年期間，臼井另外在竹書房集中連載以家庭主婦的日常瑣事為主的四格漫畫《秀逗媽媽月美》。臼井儀人的作品風格多為誇張化日本社會現象的短篇劇情，如黑道、墮胎潮、拜金女等等，有時會包含少部份成人情節。2009年9月11日，臼井於登山時失足跌落山谷不幸罹難，享年 51歲。而臼井連載中的知名作品《蠟筆小新》則由他的助手群及編輯以「UY工作室」的名號接續創作。為了表示區別，雙葉社將出版標題改為《新蠟筆小新》，但是臼井儀人仍掛名第一作者。

WANG Chung 汪中（1925-2010）汪中，字履安，號雨盦，亦常自署雨公、愚公等，安徽桐城人。1925年生於安慶，晚年落籍於安徽懷寧縣。汪中為台灣重要書法家、古典詩人、中文學者。1949年隨國民政府遷居臺灣，曾在民本廣播電臺擔任編輯至1950年，離職後轉學進入臺灣省立師範學院國文專修科，於1952年畢業。長年任教於國立臺灣師範大學國文學系。自台灣師大退休後，又應聘為東海大學中國文學研究所講座教授。曾舉辦多次書法個展，劉太希先生嘗評云：「雨盦之書，或奇矯如鷹隼搏空，或淡雅如秋霄片雲，或挺拔如峰巒突起，扇清風於毫素，瞻壁上之龍蛇。」

Lot 1168

Lot 1169

WANG Pan Youn 王攀元（1912-2017）江蘇北部徐家洪人，畢業於上海美專，青壯時期都在戰亂中渡過。自1949年來臺，遭逢艱困的歲月，一生堅苦卓絕，卻始終執著於繪畫之志，他堅持自我觀照，以細膩深邃的情感詮釋簡潔的主題，筆下透露著人世憂患的感觸與情思，樹立獨特精煉的風格，作品中色彩韻味與幽深的線條趣味勾勒出恬淡韻味，簡練的藝術風格孕育個人情感的流露，真實而感人。作品多次獲臺灣省立美術館、臺北市立美術館典藏。 2001年應國立歷史博物館之邀，於國家畫廊舉辦《攀圓追日—王攀元九十自選展》。曾於1983年入選中華民國畫會金爵獎，2001年榮獲第五屆國家文藝獎、2003年獲頒文馨獎之殊榮。2017年王攀元以百餘歲高齡逝世，國立歷史博物館在2018年舉行「過盡千帆－王攀元個展」。 WANG Pan Youn was born in a wealthy family in Jiangsu, China, 1912. He graduated from Shanghai Training School of Fine Arts and lived most of his teenage in war. Ever since he came to stay in Taiwan in 1949, life has been difficult. However, WANG insisted that he keep painting so as to reflect his inner self. Wang’s artwork is depicted through sensitive feelings and clear subjects. The brushwork, which is full of compassion, builds up a highly refined style; moreover, the warm colors and dim outlines give audience a carefree atmosphere. Several of his works were collected by National Taiwan Museum of Fine Arts and Taipei Fine Arts Museum shows the importance of Wang Pan Youn’s art. In 2001, he was invited by National Museum of History to hold a solo exhibition -"In Pursuit of Solar Perfection: Exhibition of Self-Selection by Wang Pan Youn at Ninety." Last but not least, he was awarded for several national prizes in recent years.

Lot 1054

161

Lot 1061

WANG Yun Wu 王雲五（1888-1979）原名之瑞，字雲五。籍貫廣東香山，生於上海。王自學成材，在1920年代至1930年代主理商務印書館。1948 年曾出任財政部長，期間推出金圓券，引起金融失調。1949年後到臺灣，並主持台灣商務印書館。著作等身，有《物理與政治》、《中外圖書統一分類法》、《四角號碼檢字法》等。王雲五於臺北市新生南路三段 19巷的故居現為王雲五紀念館。

Lot 1170

WU Bu Yun 伍步雲（1905-2001）伍步雲出生於廣東臺山，是中國新興繪畫藝術的開拓者之一。因父親為菲律賓華僑，赴菲律賓大學美術學院深造，磨練素描、水彩、油畫技法，1936年返抵香港，即全心投入油畫創作。1946年受聘為英華書院美術主任，教育學子，1960年開設畫院教授藝術課程，為香港的美術教育貢獻心力。1966年開始到中國各地寫生旅行，黃山、杭州、西湖等地壯麗的河山，純樸的風景成為創作的泉源，旅途中領悟中國大山大水之美。伍步雲自敘：「我生平作畫只有一個目的，就是希望看見我畫的人，一眼看去，就知道是中國人畫的；換句話說，就是想在我的作品上，表現出中國的民族風格來。我採用油彩，只不過作為一種表現的工具，我要利用它的豐富顏色來表達我心中的意向。」伍步雲以油彩為媒介，表現大山大水的塞外風光及中國水墨的意境與內涵，以印象派對於光的詮釋、後印象派的筆觸及野獸派的線條，在他的繪畫中慢慢的蘊釀成形。作品取材並深入生活，反映中國與香港樣貌，創作題材廣泛並有其思想與內容，數十年間勤奮創作，成為中國油畫的先驅。 Lot 1032

Lot 1033

WU Chi Yuan 鄔企園（1902-1991）中國浙江奉化人，1949年來到台灣，即使因當年的動盪與流離使生活困頓，他依然執著於文人畫創作，堅持傳統藝術理念。曾從吳昌碩習書畫，行草及花卉、山水，其書畫作品有著吳昌碩和齊白石的筆墨神韻，用筆樸拙飄逸，蒼古雅逸，與他內斂的人格精神如出一轍。 Lot 1153

XIE Dong Min 謝東閔（1908-2001）自號求生，台灣半山政治人物，彰化縣二水鄉光化村人。台灣地區第六任副領導人，是台灣本省人士中第一位擔任此要職者。擔任台灣省立師範學院院長期間，發生過學生運動。晚年被人們尊稱為謝求公。謝東閔鑑於家為國之本，欲國家富強、民生樂利，必先健全家庭，於是在1957年決定創辦家政學校，1958年3月26日，成立台灣地區第一所家政學校——私立實踐家政專科學校。 Lot 1176

YAMAGUCHI, Takashi 山口高（b.1969） 1969年出生於東京。1996年在東京藝術大學研究所結束學業之後，與會田誠、坂口博紀等藝術家組成「KOTATSU派」。山口高的作品並非使用傳統的日本畫顏料，而選用油畫中的油彩、水彩和鋼筆。雖然在創作中藉用了傳統的日本畫技法，但山口高認為自己應歸類為涉足西方繪畫後的日本現代畫家。

Lot 1011

162

YAMAMOTO, Yoskay 山本源（b.1981） 1981年出生於日本的鳥羽，15歲時移居到美國洛杉磯，因此Yoskay的藝術品味隨著愛上了西岸的城市文化而擴展。在從中發現了兩種不同文化背景融合在一起的方法，將懷舊的新西方流行指標性人物與傳統神話中的日本元素融為一體，讓亞洲生態文化與城市流行藝術相平衡。山本源是插畫家出身，但也會創作充滿潮流玩味的雕塑或公仔，當中以「Koibito鯉魚人」最為人熟悉。「Koibito」的同名鯉魚人公仔，就是把日文中的“戀”和“鯉魚”的發音相融，加上後綴 “bito”，就成了“鯉魚人”，這結合了西方文化這種 “文字遊戲”，也是融合東西方文化的典型體現。因其特別的設計風格，而得到了很多收藏者的喜愛。 Lot 1136

YANG San Lang 楊三郎（1907-1995）台北永和人。1915年入艋舺公學校，1923年赴日本留學，首先進入京都工藝學校，後轉入關西美術學院西洋畫科，接受嚴格的學院派訓練。1927年回臺灣，與倪蔣懷、廖繼春等人共組「赤島社」。1929年榮獲臺灣美術展覽會特選第一名。楊三郎於1931年赴法國留學，次年作品《塞納河畔》入選法國秋季沙龍，與當時留法顏水龍同為早期留法畫家，回台後成為專業畫家，推動各項美術活動。1934年返台於太平町創辦「洋畫研究所」，與陳澄波、廖繼春、顏水龍、李梅樹、李石樵等人成立「台陽美術協會」，並在教育會館舉行個展。光復後籌辦「全省美展」全力參與並展出，奠定其畫壇地位，並獲國家文藝獎的殊榮。1948年恢復台陽展，成為該展最大支持者。1985年台陽展與春陽會於史博館合辦「中日美術展」，1989年台北市立美術館舉辦回顧展。1991年楊三郎美術館正式開幕，1992年獲頒行政院文化獎卓越藝術家獎章，1995年逝世家中。楊三郎舉行過多次個展，並多次在臺灣美術展上獲獎。其中比較重要的展覽有1973年和1983年分別在國立歷史博物館舉行的「楊三郎油畫個展」和「楊三郎油畫回顧展」。楊三郎以其在畫壇上卓越的成就，曾於1986年榮獲國家文藝特別貢獻獎，1995年獲頒總統褒揚令與華夏一等獎章。 YANG was born in Taipei, Taiwan. YANG moved to Japan in 1924 where he studied at the Kyoto School of Arts and Crafts. He then transferred to the Western Painting Department in the Kansai Art Academy to receive academic training. He returned to Taiwan in 1927, and founded the Ruddy Island Association together with NI Jiang Huai and LIAO Chi Chun. In 1929, he won the first prize at the Taiwan Art Exhibition. YANG went to France in 1931, spending time to visit museums and study European paintings. In the following year, his works were selected for the Autumn Salon in Paris. In 1924, he returned to Taiwan and held a solo show at the Hall of Education. At the same time, he established the Taiyang Art Association along with other notable artists such as Chen Cheng Po and LIAO Chi Chun. YANG has received numerous awards and held various important solo shows, including Oil Paintings by YANG San Lang (1979) and Retrospective Exhibition of YANG San Lang's Paintings (1983), both held at the National Historical Museum. For YANG’s tremendous contribution to Taiwan's art world, he received a special national art award in 1986 and First Degree Huahsia Award by Presidential Order in 1995.

Lot 1038

Lot 1039

Lot 1090

YANG Shi Hong 楊識宏（b.1947） 1947年出生於臺灣桃園，1968年畢業於國立藝專美術科西畫組，1979年便移居美國。楊識宏的畫作呈現了強烈純粹的「繪畫性」與「表現性」，色相強烈的對比，常營造出一種黝暗中神秘的光影。作品富涵濃厚東方情懷、充滿人文氣息，多以漂浮漫生植物為主題，他的繪畫融合東西兩方的自然觀與價值觀，透過「象徵」的圖象語言與從中國哲學的體悟之象徵性空間，表現了東西思想之間一種啟示性的張力。他作品的主旨總是圍繞於自然的榮枯、生命的興衰以及對時間消逝的感傷。自然界循環與生生不息的意涵，映照畫家的生命情境、生活體驗和形象思維，使他的作品散發著詩意而雋永的優雅風格，極受藝壇的推崇與肯定。 Yang Chihung was born in Taoyuan, Taiwan. and graduated from National Taiwan College of Art in 1968. In the early 1980s, he was living in New York; he was one of the secondgeneration overseas artists. During the first few years in New York, he frequently visited major galleries and art museums in an effort to expand his horizon and gather information. He became very familiar with the works and background of New Painting Artists; meanwhile, his effort fuel passion into his canvas and made his work responsive to feedback. Such responsiveness means more than an acute sense and courage, it also challenges the artist’s character. It is therefore that his works always convey poetic as well as elegant style, and receive high recommendation and praise from art field.

Lot 1031

163

Lot 1034

Lot 1035

YEH Chen Fu 葉振富（b.1956）筆名焦桐，生於臺灣高雄市，曾獲全國學生文學獎新詩首獎、散文佳作。曾任《商工日報》副刊編輯、《文訊》雜誌主編、《中國時報》副刊組執行副主任、二魚文化事業群創辦人等職務。年輕時曾因為「完全無法接受教科書」而拒絕大學聯考，後來經聯考分發至中國文化大學戲劇系，接著取得該校的藝術研究所碩士學位。進入社會工作後考取輔仁大學比較文學博士班。從拒絕聯考的小子搖身一變成大學教授，這種奇特的人生經歷創造出焦桐不願隨波逐流的文筆，企圖在詩境中破除俗套，尋求顛覆傳統的路徑。1980年他以《懷孕的阿順仔嫂》一詩獲得第三屆時報文學獎敘事詩優等獎。他的成名作《完全壯陽食譜》詩集掀起了一場情色文學的革命，廚房不但變得情慾橫流，且巧妙地將情慾、食物和政治以嚴肅又戲謔的語言串聯在一塊。後來，焦桐開始在飲食文學下工夫，專注於文學的飲食研究，希望將飲食文學與文化發展成自己的一項專業。 Lot 1181

YU Chen Yao 余承堯（1898-1993）福建永春人，早年投筆從戎，1920 年東渡日本，於早稻田大學攻讀經濟，又轉入日本陸軍士官學校鑽研戰術。返國後服務軍旅，1946 年以中將退伍，1950 年輾轉來台，經營藥材生意，餘暇則讀書、作詩、作畫、寫字自娛。他從 56 歲開始作畫，沒有師承，僅以大自然為師，以細碎密結的筆法，皺擦出山岩，再由多塊山石或山峰結組密實的山形。他的自家山水，展現獨特的創作語言，余氏淡泊一生，深居簡出，有隱士之德，他的山水畫寫實中帶有詩意，是開創獨特山水畫法的大家。 Lot 1150

YU You Ren 于右任（1879-1964）陝西三原人，祖籍涇陽。原名伯循，字誘人，後以右任為名，別署騷心、髯翁，晚年自號太平老人。為近代著名政治家、軍事家、教育家、新聞人、書法家、畢生致力于《標準草書》修訂，書法成就斐然，所作草書氣勢雄渾，被譽為「三百年來一草聖」。1948－1964年間擔任國民政府監察院院長，聲譽崇隆。于右任草書、譚延闓楷書、胡漢民隸書、吳稚暉篆書，合稱為「國民黨四大書家」。于右任1932年在上海創辦標準草書社，以易識、易寫、準確、美麗為原則，整理、研究與推廣草書，整理成系統的草書代表符號，集字編成《標準草書千字文》（1936年由上海文正楷印書局初版），影響深遠，至今仍在重印。著作《右任詩存》、《右任文存》、《右任墨存》、《標準草書》等。

Lot 1151

Lot 1162

Lot 1163

ZHENG Shan Shi 鄭善禧（b.1932）生於福建漳州，自幼喜好色彩濃艷、線條流暢的民俗藝術，常於空暇時到戲台、廟宇觀看匠師雕神像、漆門神，為之後的鄉土風格打下了基礎。其畫作融合民間藝術與文人畫風，使作品既有民間的華麗也有古樸雅致的文人風骨，創作題材多變，尤喜寫生，在師大求學與出國時，受到西洋繪畫色彩的衝擊，引領他突破傳統水墨與黑白藩籬。由於經常出入山林，他發現臺灣山形地貌與中國大陸有明顯的差異，而非傳統國畫的紙上雲煙，便將身歷其境的感受描繪出來，畫出了渾圓不峻、翠綠的「臺灣山」，畫出了臺灣風味的中國畫。除了山水畫之外，鄭善禧師法齊白石，將民間藝術融入畫作中，所畫皆是眼前所見及生活感受，趣味橫生，雅俗共賞。

Lot 1081

Lot 1082 Lot 1083

Lot 1087

Lot 1088

Lot 1089

Lot 1154

Lot 1155

164

ZAO Wou Ki 趙無極（1921-2013）趙無極出生於北京，1941年畢業於杭州藝專，曾任該校講師，受業於林風眠、吳大羽。1948年赴巴黎，受當時抽象主義的影響，探討西方現代藝術，旋即在巴黎、美、英、瑞士舉辦個展。他承襲中國傳統的內涵，取中國書法優美的線條和山水畫的氣韻，巧妙地融入畫布空間中，流動的氣韻推動著畫面，用抽象方式表達真實的事物，創造出現代繪畫的新領域，避開抄襲與舊有形式，不蓋章、不題款，傾心領悟古人對自然與生命的讚頌之情，以一種嶄新的姿態形式呈現出他個人含蓄、沉穩、生動、意趣高遠的藝術新領域，馳名國際，成為第二次世界大後的巴黎畫派最具影響力的畫家之一，也是西方藝壇上成就最傑出的一位中國藝術家。1981年在法國大皇宮展出，並獲得「榮譽軍團司令勛章」。2002年榮膺為法蘭西學院院士。他的作品廣被世界各地的私人藏家及博物館珍藏。趙無極的繪畫歷程總在不斷地轉換與蛻變，早期的寫實風格以及在歐洲所發展出的克利時期、甲骨文時期，再到抒情抽象以及雄偉磅礡的氣勢作品，都訴說趙無極每一時期的藝術成就。趙無極汲取中國文化的藝術精髓，以傳承中國藝術內涵為目標，透過稀薄的油彩潑墨與乾澀的筆法皺染，將中國書法線條和山水畫的氣韻融入油畫中，成功的以西方媒材傳達中國山水的意境，亦把中國對於畫境、意境的追求和西方對時空意念的探討融為一體。趙無極將中西藝術融會貫通，發展獨樹一格的畫風，終躍上國際，在國際藝壇大放異彩，成為一代繪畫大師。藝術史學家蘇立文表示：「在中國人的眼中，陰陽不是結合的，而是透過兩極的強大交互作用而產生相輔相成的生命體。因此我們也應該用這種態度來看待東方與西方的交互作用；兩種偉大的文化，各自保留自己的特色，互相刺激與滋潤。」這段文字和趙無極的藝術相互印證，東西方融合的藝術，也奠定了趙無極在華人藝壇中頂尖的地位。趙無極不僅融合了兩大文化的藝術本質：「中國的空間」和「西方的光」，更成功的轉述了它們的共通性，趙無極曾說；「如果說我的整個藝術修養中有無可否認的中國影響，我也必須說明，我的真正人格，隨著重新發現中國而晉於成熟。」 Zhao Wou-Ki was born in Bejing. He graduated from Hangzhou Fine Art College. He was mentored by Lin Feng-Mian and Wu Da-Yu. Influenced by abstractionism, he explored Western modern paintings and immediately held exhibitions in Paris, England, America, and Switzerland. He adopted the spirit of tradition by join Chinese brush strokes into paintings. He described concrete images in abstract forms. In the painting of Zhao, there is no stamp and no signatures so to show his ideal of art making in new dimension. Zhao is one of the influential painters in modern art and the most successful Chinese artist in the Western world. In 1981, his works were showed in Galeries Nationals du Grand Palais and was awared Commandeur de la lgiond Honneur. In 2002, he was selected as a member of the Academie Francaise.ZAO Wou Ki’s painting style is always transforming, from the realistic to symbols and lyrical abstraction, every single period shows ZAO’s achievement. ZAO absorbs the essence of Chinese culture and blends the lines and artistic conception in Chinese calligraphy and Chinese water ink painting respectively into his oil paintings. Moreover, the diluted pigments and cracked stained brushstrokes with his goal of passing the spirit of Chinese art down, he successfully communicates the Chinese painting’s poetic imagery through different Western media. ZAO Wou Ki digests Chinese and Western art to form his unique style, and becomes one of the greatest contemporary Chinese artists. Michael Sullivan, art historian, in ORIENTAL AND WESTERN ART, he mentioned “ In Chinese viewpoint, through alternation in polarity of YIN and YANG, formed one organic by complementing each other. Two great spirits surges and possess each other.” This words is proved with ZAO’s Art, Oriental-Western art is integrated, marked his highly statue in International art field."Space of Chinese "and "Light of Western”, Zao Wou Ki not only combines the essence of art in two major culture, but also successfully relays the commonality. ZAO Wou Ki once said," If there is an undoubtedly influence of Chinese culture in my art knowledge, I have to say, my real personality is closer to mature as I re-found Chinese culture.

Lot 1073

Lot 1074

ZHOU Cheng 周澄（b.1941）台灣宜蘭人，為靈漚館江兆申入室弟子，詩書畫印四絕皆擅，山水畫和書法多有文人氣。周澄的山水畫，撲面而來的是一股強烈的個性意趣，一種出自肺腑的筆墨抒情色彩，在造化裏修煉而成的道骨仙風。他有很高的筆墨造詣，也十分注意精到的點劃和修飾；他有行雲流水般的線條，有鐵劃銀勾式的筆觸，卻無法掩藏心中的審美好惡。任性、隨意，在畫裏堅持自己的藝術主張，發自已想發的感歎，吐自己胸中的壘塊，由此，他構築起自己的風格框架。曾任台灣印社社長、江蘇省國畫院特聘畫師。

Lot 1152

165

MEMO

166

167 244

買方如以新台幣以外之貨幣支付，因此所致之任何外匯費用；包括銀行收費與兌換貨幣之規費及匯差等，皆由買方負擔。

168 245

169

170

171 248

172 249

173 250

174 251

175 252

委託投標 ( 書面/電話 ) 授權書

投標者資料

景薰樓2020夏季拍賣會亞洲華人現當代藝術近現代書畫拍賣日期 2020年09月13日（星期日）下午2:30 富邦人壽大樓國際會議中心台北市敦化南路一段108號B2

護照號碼

公司名稱

保證金繳納帳戶台幣帳號帳戶名稱：景薰樓股份有限公司

(日)

公司電話

銀行名稱：台灣銀行

(夜)

手

台中分行

機

銀行帳號：010001173267 茲委託景薰樓就下列拍賣品於委託價格範圍內競標。本人已詳讀刊登於圖錄上的景薰樓<業務規則>，並同意遵守該業務規則之一切條款。本人需於拍賣日前四十八小時前向景

銀行證明

銀行名稱

銀行聯絡人

銀行帳戶名稱

銀行電話

薰樓出具本委託授權書；同時繳納保證金新台幣貳拾萬元整( 或美金捌千元、或人民幣陸萬元 )。如競投拍品金額超過參百萬元者，依景薰樓規定

競標價(新台幣)(服務費不計在內)

比例調整保證金金額。如果在規定期間內未完成保證金繳納手續，本委託視同失效。若成功標得拍賣品後，本人同意保證金自動轉為購買價款之一部份並自拍賣日起七日內完成付款，購買價款為拍定價加上服務費。拍定價少於或等於貳仟萬元以下者，服務費以拍定價之20%計算；拍定價高於貳仟萬元者，貳仟萬以下為20%，超過貳仟萬元的部份以12%計算。如未能順利競投成功，本人所繳納之保證金同意景薰樓於拍賣結束後無息退還。如因本人違約，景薰樓得不予退還所繳納之保證金，本人並負相關法律責任。

拍賣品編號(按數字順序) 連絡電話

176

2020 SUMMER AUCTION Asian, Chinese Modern & Contemporary Art Chinese Painting

2:30pm, Sep 13th, 2020 (Sunday)

The buyer should complete this idding dorm and hand it to JSL 48 hours before the auction. In meanwhile, the guarantee of NTD$ 200,000 (US$ 8,000/RMB$ 60,000). If the estimate of Lot exceeds NTD 3,000,000, the amount of bid bond shall expect a proportional increase. If the guarantee could not be paid before the deadline, this form will be invalid. Please bid on my behalf at the above sale for the following lot(s)up to the price mentioned below. These bids are to be excuted as cheaply as is permitted by other bids or reserves if any. I agree to comply with the Conditions of Business as printed in the catalogue. I understand that in the case of a successful bid, a premium of 20% on the hammer price up to and including NT$20,000,000 and 12% on any amount in excess of NT$20,000,000 willbe payable by me.

177

諮詢洽購