景薰樓2012秋季拍賣會 by JSL AUCTION

景薰樓 2012 年秋季拍賣會 20世紀華人現代及亞洲當代藝術

JSL 2012 AUTUMN AUCTION th 20 CENTURY CHINESE MODERN & ASIAN CONTEMPORARY ART

拍賣日期 2012年12月9日（星期日）下午2：30 AUCTION DATE Sunday, December 9, 2012, 2:30pm

景薰樓2012年秋季拍賣會 20世紀華人現代及亞洲當代藝術

拍賣日期∕地點 2012年12月9日（星期日）14:30 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∕地點台中景薰樓藝文空間 22012年11月16日(五)-12月2日(日)10:00-19:00 台中市北區華美街二段262號B1 電話 +886 4 2295 5528 台北富邦人壽大樓國際會議中心 2012年12月7日(五)-8日(六) 7日(五)10:00-19:00 8日(六)10:00-17:00 台北市敦化南路一段108號B2 電話 +886 4 2295 5528 +886 2 8771 7989

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JSL 2012 AUTUMN AUCTION 20th CENTURY CHINESE MODERN & ASIAN CONTEMPORARY ART

AUCTION Date / Venue December 9, 2012 (SUNDAY), PM2:30 Fubon National 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 TAICHUNG JSL Art Space November 16-December 2, 2012 (Friday-Sunday)10:00-19:00 B1, No.262, Section 2, Hua-Mei Street, Taichung, Taiwan Tel: +886 4 2295 5528

TAIPEI Fubon National Conference Center December 7-8, 2012 7(Friday) 10:00-19:00, 8 (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

Auction Consulting: Jade Chen, Melody Chang, Ophiel Ou Service Tel: +886 4 2295 5528 +886 2 8771 7989 Website: www.jslauction.com E-mail: service@jslauction.com

景薰樓2012年秋季拍賣部門景薰樓的辦事處，可協助閣下參與本次舉行之拍賣會的競投外，並提供藝術品仲介服務，以及專業的藝術諮詢之投資建議，詳情請洽景薰樓國際藝術拍賣公司。

創辦人

林振廷

董事長

陳碧真

亞洲當代藝術部

陳碧真歐宇軒鄭雅云

管理行政部

林麗美

王朝麒龔相承

景薰樓國際藝術拍賣公司台中總公司台灣台中市北區404華美街二段262號B1 電話:+886 4 2295 5528 傳真:+886 4 2295 5529 台北辦公室台灣台北市松山區105敦化南路一段102號電話:+886 2 8771 7989 傳真:+886 2 8771 7698 Website: www.jslauction.com E-mail:service@jslauction.com

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圖錄訂閱本圖錄歡迎各界人士訂閱訂閱請洽：行政部魏思嘉

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算。

請洽：管理部林麗美艾毓瑞

封面 Lot 93 趙無極《19.09.85》封底 Lot 60 廖繼春《淡水觀音山》 ※未經本公司同意，不得任意轉載此份圖檔

JSL 2012 Autumn Auction Related Department and Staff

JSL offices will assist clients in the bidding of this auction, besides, we offer the services of agent and professional art investment consultation, please contact the company for further information.

Founder

Chen-Ting Lin

Chairman

Jade Chen

Asian Contemporary Art Department

Jade Chen Ophiel Ou Melody Cheng

Administrator Management Department

Î&#x153;ay Lin Eric Wang Una Gong

JSL AUCTION CO. Taichung B1, No. 262, Section 2, Hua-Mei Street, Taichung, Taiwan Tel: +886 4 2295 5528 Fax: +886 4 2295 5529 Taipei No.102, Sec.1, Dun-Hua South Road, Taipei, Taiwan Tel: +886 2 8771 7989 Fax: +886 2 8771 7698 Website: www.jslauction.com E-mail:serice@jslauction.com

JSL 2012 Autumn Auction Relevant Consultation & Services

Premium The buyer's premium payable by the buyer of each lot is at a rate of 18% 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 Please contact the following staffs for relevant information of the auction: Taiwan May Lin, Melody Cheng Tel:+886 4 2295 5528 Fax:+886 2 2295 5529 Tel:+886 2 8771 7989 Fax:+886 2 8771 7698

have cleared. Payment by cash or banker's draft will enable immediate release of purchases. Lots can be collected at JSL Auction. Office, open from Monday to Saturday 10:00-18:00. Or make appointment for

any other time.

Shipping Advice on the most proper means of dispatch and arrangement of shipping to foreign countries can be obtained from Administration Management Department: Eric Wang, Una Gong

Storage Phone Bid 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 Tel:+886 4 2295 5528 Una Gong Ophiel Ou Tel:+886 2 8771 7989

Written Bid 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: Ophiel Ou, Eric Wang

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 the payment, please contact May Lin, Aivy Ai

Collection of Purchases 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

Buyers shall collect purchased lots within 35 days from the date of the sale. Otherwise, we shall arrange storage at the buyer’s expense at NTD$250 per lot per day.

Catalogues Subscription On buying the catalogue, please contact the Administration Department: Su Chia Wei

Price 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. Front Cover Illustration Lot 93 ZAO Wou Ki“19.09.85” Back Cover Illustration Lot 60 LIAO Chi Chun“Guanyin Mountain” ※The copyright of all images, illustrated and written material relating to a lot is and shall remain at all times. Our property shall not be used by the buyer nor anyone else without our prior written consent.

Index ( 按姓氏拼音排序 ) Artist/Lot Number

A ARMAN Pierre Fernandez

Key HIRAGA

平賀敬

136.

HIROSHI Senju

千住博

137.

HSIAO Yi

蕭一

53.54.

HSIAO Ju Sung

蕭如松

8.9.10.11.12.

HSIEH Hung Da

謝宏達

57.

HU Shan Yu

胡善餘

103.

HUANG Yong Yu

黃永玉

69.

HUNG Jui Lin

洪瑞麟

104.

HUNG Tung

洪通

58.

伯納德． 146. 卡多蘭

Michell HWANG

黃銘哲

56.117.

Jean Pierre CASSIGNEUL

尚．皮耶． 42.43. 卡辛紐

Marc CHAGALL

夏卡爾

39.40.41.

George CHANN

陳蔭羆

72.74.

阿曼

44.

B Alfred BASTIEN

巴斯天

79.80.81.82.83. 84.85.86.87.88. 89.90.91.

Bernard BUFFET

畢費

147.148.149.150. 152.153.

C Bernard CATHELIN

CHANG Wan Chuan 張萬傳

105.

CHEN Ting Shih

陳庭詩

51.

CHEN Yin Hui

陳銀輝

101.

CHIN Jun Tso

金潤作

59.

CHOU Pi Chu

周碧初

112.

CHU Teh Chun

朱德群

159.160.

CHUA Hu

蔡雲程

CHUANG Che

莊喆

達利

102.

Ryoko KATO

加藤遼子 138.

KINICHIRO Ishikawa

石川欽一郎 7.

KUO Hsueh Hu

郭雪湖

Yayoi KUSAMA

草間彌生 134.142.143.144. 145.

16.17.

L Marie LAURENCIN

瑪莉．羅蘭珊

19.20.

Femand LEGER

費農．雷傑 154.

116.

LI Chen

李真

48.49.50.

LI Mei Shu

李梅樹

99.100.

LI Yong Sen

李詠森

LI Tze Fang

李澤藩

LI Zi Jian

李自健

106.

LIAO Chi Chun

廖繼春

60.61.65.

LIN Fang Mian

林風眠

68.

LIN Liang Tsai

林良材

161.

LIEN Chien hsing

連建興

107.108.

Richard LIN

林壽宇

97.

LIN Yu Shan

林玉山

18.

Max LIU

劉其偉

26.27.

LIU Guo Sung

劉國松

96.

D Salvador DALI

HUANG Ming Chang 黃銘昌

30.31.123.124.125. 126.127.128.

F Kanglung FANN

范康龍

56.

FEI Yi Fu

費以復

14.15.

FENG Zheng Jie

俸正杰

110.

FUJITA Tsuguharu

藤田嗣治 32.33.34.

J JIA You Fu

賈又福

Jean JANSEM

強．詹森 38.

JU Ming

朱銘

70. 46.47.

35.36.37.

M MA Pai Sui

馬白水

Hiroyuki MATSUURA

松浦浩之 140.

Joan MIRO

米羅

3.4. 120.121.122.

N Yoshitomo NARA

奈良美智 141.

P PAN De Hai

潘德海

109.

PANG Jiun

龐均

22.23.24.

PENG Kuang Chun

彭光均

28.29.

Pablo PICASSO

畢卡索

118.119.

R Ayako ROKKAKU

UMEHARA Ryuzaburo 梅原龍三郎 129.130.131.132.

W UMEHARA Ryuzaburo 王藍

71.

WANG Wen Ping

王文平

21.

WANG Shou Ying

王守英

WANG Yun He

王雲鶴

113.

Andy WARHOL

安迪沃荷 41.

Claude WEISBUCH

維士巴修 151.

X XIN Hai Zhou

忻海洲

78.

YANG

楊祖述

YANG San Lang

楊三郎

62.63.64.

YAO Jui Chung

姚瑞中

114.115.

YEH Huo

葉火城

66.67.

Yuyu YANG

楊英風

45.

趙無極

92.93.94.95.155.

Y 六角彩子 139.

S SHIY De Jinn

席德進

13.

Tong Liang HSIEH

謝棟樑

52.

SHEN Che Tsai

沈哲哉

73.

SU Xiao Bai

蘇笑柏

98.

Z ZAO Wou Ki

TING Shao Kuang

丁紹光

133.

Walasse TING

丁雄泉

75.76.77.

Imai TOSHIMITSU

今井俊滿 135.

156.157.158. ZHANG ×iao Tao

張小濤

111.

20th CENTURY CHINESE MODERN & ASIAN CONTEMPORARY ART

LOTS 1-161 Taipei 9 December 2012 at 2:30pm

楊祖述 (1913-2003)

YANG Tsu Shu

風景

Landscape

油彩畫布 1989

Oil on canvas 1989

簽名右下 : 1989

Signed lower right:dated 1989

54×38.5cm(21.3×15.2in.)

NT$ 200,000-260,000 US$ 6,840-8,890 HK$ 53,100-69,000

2-b

2-c

2 a~c

李詠森 (1898-1998) LI Yong Sen 風景 ( 三件一組 ) Scenery 水彩紙 1989 簽名右下 : 詠森鈐印 : 李氏 36.5×26.5cm(15x11in.) 27×34.5cm(11x14in.)

(A Set of Three Pieces) Watercolor on paper 1989 Signed lower right: yongsen in Chinese,with one seal of the artist

27×37cm(11x15in.)

NT$ 150,000-200,000 US$ 5,130-6,840 HK$ 39,800-53,100

2-a

馬白水 (1909-2003)

MA Pai Sui

碧潭

Bitan

水彩紙 1971

Watercolor on paper 1971 Signed lower: Pai Sui in Chinese, dated 1971 in Chinese

簽名左下 : 白水一九七一 38.5×54cm(15.2×21.3in.) 56.5×71cm(22.2×28in.)

NT$ 350,000-450,000 US$ 12,000-15,400 HK$ 92,800-119,000

馬白水 (1909-2003)

MA Pai Sui

泰國松卡海濱

Seaside in Thailand

水彩紙 1963

Watercolor on paper 1963

簽名右下 : 白水一九六三

Signed lower right: Pai Sui in Chinese, dated 1963 in Chinese

55×72cm(22x29in.)

NT$ 300,000-400,000 US$ 10,300-13,700 HK$ 79,600-106,000

李澤藩 (1907-1989)

LI Tze Fang

北郭園

Beiguo Garden

水彩紙

Watercolor on paper

簽名左下 : 澤藩

Signed lower left: Tze Fang in Chinese

26×36cm(10.2×14.2in.)

NT$ 100,000-150,000 US$ 3,420-5,130 HK$ 26,500-39,800

王守英 (b.1934)

WANG Shou Ying

奧萬大

Aowanda

油彩畫布

Oil on canvas

簽名左下 : S. Y.

Signed lower left: S. Y. Wang

46×53cm(18×20.9in.)

NT$ 180,000-240,000 US$ 6,160-8,210 HK$ 47,700-63,700

石川欽一郎 (1871-1945)

ISHIKAWA Kinichiro

日本神社

Japanese Shrine

水彩紙

Watercolor on paper

簽名右下 : 謹寫欽一郎

Signed lower right: Sincerely Kinichiro in Chinese, with two seals of the artist

鈐印兩枚 48×58cm(19×23in.)

Exhibition: 展覽「台灣早期西洋美術回顧展」，台北市立美術館，

"The Retrospective Exhibtion of Early Western Art in Taiwan", Taipei Fine Arts Museum, 1991.

1991 年。

Literature: 出版《台灣早期西洋美術回顧展》，台北市立美術館，

The Retrospective Exhibtion of Early Western Art in Taiwan , Taipei Fine Arts Museum, 1991, P.129.

1991 年，第 129 頁。

NT$ 450,000-550,000 US$ 15,400-18,800 HK$ 119,000 -146,000 石川欽一郎為公認對台灣美術步入近代史啟蒙最具貢獻的

勤於寫生的他，以田園山水與歷史古蹟為題材，以流利的筆

藝術家。先後兩度來台灣共居留 19 年，奠定其在台灣美術

法，採用明度、彩度較高的色彩，素樸簡單，用色柔和明亮，

史「導師」的地位，積極扶植日治時期的「台灣水彩畫會」、

作品總能令人歷歷入目。從石川欽一郎描繪台灣的風俗和風

「西洋畫研究會」和「台灣繪畫研究會」，促進台灣西洋畫的啟蒙，撒播繪畫的種子。陳澄波、廖繼春、李澤藩、李梅

景的作品之中，可以發現石川欽一郎對台灣的熱愛，「光之鄉」是其形容台灣的讚美辭。

樹、張萬傳等台灣前輩藝術家均出自石川欽一郎的門下。作品 Lot7〈日本神社〉以溫柔筆觸佐以輕快的色調追求畫面中遠山與神社空間的平衡，作品中可見其運用色彩質性的實踐，色彩淡雅而調和，全幅畫作在和諧寧靜中生意盎然、優雅自適，實為難得的一幅精心傑作

蕭如松 (1922-1992)

HSIAO Ju Sung

綠蔭

Green Shade

膠彩紙 1981

Glue on paper 1981

簽名畫背 : 少女省展 25P 蕭如松

Signed on reversed: girl at Provincial Exhibition, 25P, Hsiao Ju

簽名右下 : 如松

Sung.

鈐印右下 : JS

Signed lower right: Ju Sung, with one seal of the artist

81×62cm(32×24in.)

Literature: 出版《台灣美術全集 24：蕭如松》，藝術家出版社，2004 年，第 171 頁。

Taiwan Fine Arts Series 24–HSIAO JU-SUN , Artist Publishing Co., 2004, P.171 Memory of HSIAO JU-SUN , Hsinchu Culture Center, 1999, P.74.

《如沐松風：蕭如松紀念畫輯》，新竹縣立文化中心，1999 年，第 74 頁。

NT$ 1,800,000-2,200,000 US$ 61,500-75,300 HK$ 474,000 -584,000

蕭如松的人物畫常藉由姿態、表情刻畫人物個性，透過模特兒的姿態、服裝配飾與情境的營造反映出蕭氏心中美女典範的造像。本次秋拍收錄於《如沐松風蕭如松紀念畫輯》中的作品 Lot8〈綠蔭〉，少女清靜素雅略有矜持，簡單的白色裙裝打扮，為此畫揭露了夏日氣息。蕭如松作品裡有傳統日本膠彩畫的潔淨透明感，也有立體派複雜的時空關係，和簡化而強烈的野獸派風格，這些風格來自於鹽月桃甫教授的影響及自習畫冊精進的背景。靜謐悠遠的詩境，纖細綿密的情懷，優雅脫俗的格調，則是屬於蕭如松獨一無二的不朽畫意。蕭如松的作品最大的特色就是乾淨透亮並帶有真切的情感，在七○年代中期鄉土運動中，重新喚起對故鄉風情更深入的體認。將家鄉的景物變成一幅世界名畫，是蕭氏一生念茲在茲的理想與目標，於是開始在自家近郊尋找寫生的靈感。同時蕭氏也認為：唯有不斷對相同對象物的描繪，才能鍛鍊出自己恆常持續的定力，而這份堅定的毅力，也是研究永恆之美的基石。塞尚如此、莫內如此、自己更應該如此。本次秋拍特地收羅了四張蕭氏以家鄉景物為題材的精采作品，Lot9 〈竹東高中操場〉，Lot10〈俯瞰東寧路〉，Lot11〈頭前溪畔〉及 Lot12〈新竹東門〉。

HSIAO’s figures to convey personalities in posture and facial expressions, through the posture and dressing to express what elegant ladies look like. Let’s take Lot 8"Green Shade"for example, a maiden in white dress shows summer’s coming. Apparent of Traditional Glue painting, complicated texture of Cubism and simplified lines of Fauvism are affected by Professor Shiotsuki Toho and the background of learning painting by himself. Harmonious poetic atmosphere, sentimental sincerity and elegant tune of painting belongs to HSIAO’s painting style. One of characters in HSIAO’s paintings is clear but abundant expression. Homeland Culture of art formed in middle of 1970s that recall deeper sentiment for our country. Turning items in homeland becomes well-known paintings is only goal for HSIAO to put into practice. Therefore, he looked for inspiration near the place where he lives. In addition, he believes that keeping describing the same objects in order to develop stable condition within his mind. There are four of HSIAO’s works of homeland such as Lot 9"Playground in Chutung Serior High School",Lot 10"Dongning Road Overlooks",Lot 11"Bank of Tou-gian Brook"and Lot 12"Old Gate of Hsinchu".

蕭如松 (1922-1992) 竹東高中操場水彩紙簽名左下 : -JS26×38cm(10×15in.)

HSIAO Ju Sung Playground in Chutung Serior High School Watercolor on paper Signed lower lift: -JS9

NT$ 260,000-380,000 US$ 8,890 -13,000 HK$ 69,000 -101,000

蕭如松 (1922-1992) 俯瞰東寧路水彩紙簽名左下 : -JS26.5×38cm(10×15in.)

HSIAO Ju Sung Dongning Road Overlooks Watercolor on paper Signed lower lift: -JS-

NT$ 300,000-400,000 US$ 10,300 - 13,700 HK$ 79,600 -106,000

蕭如松 (1922-1992) 頭前溪畔水彩紙簽名左下 : -JS38×26cm(15×10in.)

HSIAO Ju Sung Bank of Tou-gian Brook Watercolor on paper Signed lower lift: -JS-

NT$ 260,000-380,000 US$ 8,890 -13,000 HK$ 69,000 -101,000

蕭如松 (1922-1992) 新竹東門水彩紙簽名左下 : -JS26.5×38cm(10×15in.)

HSIAO Ju Sung Old Gate of Hsinchu Watercolor on paper Signed lower lift: -JS-

NT$ 300,000-450,000 US$ 10,300 - 15,400 HK$ 79,600 -119,000

Lot13〈克難街後〉是席德進先生於 1968 年所繪的一幅深富特色的水彩作品。1962 年，席德進獲美國國務院之邀赴美訪問及考察現代藝術，一年後轉赴歐洲遊歷。這段期間，他發覺了自身對於台灣鄉土的熱愛，基於民族情感的驅使，毅然回到台灣，下鄉探尋瀕臨消逝的老舊房子，以攝影和寫生的方式進行記錄。這時期的席德進，在畫風上已由早期的鮮明強烈，逐漸朝著淡薄輕逸的方向過渡，一如這張〈克難街後〉所呈現出的風格，深具指標性意義。該畫曾收錄於 1968 年 12 月所出版之《席德進畫集》中，畫中以迅速扼要的線條勾描出一片木構樓房，局部施加藍、綠、灰、淺褐等色彩塗染，近景兩隻黑鴨、遠方一抹青山，用色精簡卻俐落生動的表達出時代背景的氛圍，靜謐中飄散著家園記憶的人文情懷。

Lot 13〝 Back Street〞was painted in 1968. In 1962, SHIY was invited to USA for visiting Modern Art by United States Department of State, he took a trip to Europe after that. During his time in visiting, he realized that his passion for homeland. He was back to Taiwan with strong national sentiment, he recorded fading cottages by taking photograph and painting sketch. SHIY’s painting style, in this period of time, from contrast composition turned into unsophisticated lines. The painting style such as Lot 13〝 Back Street〞has been a significant meaning. It is illustrated in SHIY DE JINN: Watercolors & Oil Portraits which published on December of 1968. Unsophisticated strokes sketch wooden-cottages, details of the composition are dyed in colors in order to convey the atmosphere of the age. It also expresses humanistic sentiment for memory of homeland in peace.

《席德進畫集》

席德進 (1923-1981)

SHIY De Jinn

克難街後

Back Street

水彩紙 1968

Watercolor on paper 1968 Signed lower right: Shiy De Jinn, dated 1968

簽名右下 : 席德進 1968 46×61cm(18×24in.)

Literature: 出版《席德進畫集》，台北：席德進畫室，1968，第 64 頁。《典藏古美術》，〈席德進 ‧ 絢爛歸於平淡〉，

SHIY DE JINN:WATER-COLORS&OIL PORTRAITS , The Studio of SHIY DE-JINN, 1968, P.64.

ART& COLLECTION , 2008 No. 195, P.112. Mega Holdings 2008 Calendar

2008 年 12 月刊，第 195 期，第 112 頁。〈兆豐金控 2008 年年曆〉

NT$ 650,000-750,000 US$ 22,200 - 25,700 HK$ 172,000 -199,000 25

費以復 (1913-1982)

FEI Yi Fu

崖之美

View with Cliff

油彩畫布約 1960 年

Oil on canvas

鈐印右下 : 費

Stamped on lower right:

25×33cm(10×13in.)

With one seal of the artist

附敦煌藝術中心原作保證書

With a certificate of authenticity issued by Caves

出版

Art Center

《中國第二代油畫家－費以復油畫集》，台北：敦煌藝術公

Literature:

司，1963 年，第 66 頁。

Fei Yifu: Pioneer Oil Painters in China the 2nd generation, Caves Gallery ,1963, P.66.

NT$ 150,000-200,000 US$ 5,130 - 6,840 HK$ 39,800 -53,100

費以復 (1913-1982)

FEI Yi Fu

青島

Qingdao

油彩紙 1975

Oil on paper 1975

鈐印右下 : 費

Signed on lower right: With

26×35cm(10×14in.)

one seal of the artist

附敦煌藝術中心原作保證書

With a certificate of authenticity issued by Caves Art Center

出版《中國第二代油畫家－費以復畫集》，台北：敦煌藝術公司， 15

1996，第 70 頁。

Literature: Fei Yifu: Pioneer Oil Painters in China the 2nd generation , Caves Gallery, 1996, P.70

NT$ 160,000-220,000 US$ 5,470 - 7,530 HK$ 42,400 -58,400

郭雪湖 (1908-2012)

KUO Hsueh Hu

灕江二郎峽

Bank of Lijing River

膠彩紙 1978

Glue on paper 1978

簽名右下 : 雪湖

Signed lower right: Hsueh Hu, with

鈐印右下 : 雪湖

one seal of the artist

44×50cm(17.3×19.7in.)

NT$ 550,000- 650,000 US$ 18,800 - 22,200 HK$ 146,000 -172,000

郭雪湖 (1908-2012)

KUO Hsueh Hu

春日

Sun in Spring

水墨絹本

Ink on silk

簽名右側 : 己酉春日雪湖作

Signed right side: dated, entitled, named, with

鈐印兩枚

two seals of the artist

45×50cm(18×20in.)

NT$ 260,000-300,000 US$ 8,890-10,300 HK$ 69,000-79,600

林玉山 (1907-2004)

LIN Yu Shan

母愛 —跪羊哺乳

Love for Kneeling Sheep

水彩紙

Watercolor on paper

簽名左上：林玉山作

Signed upper left: Lin Yu Shan, with one seal

鈐印左上：諸羅山人

of the artist

58×69cm(22.8×27.2in.)

NT$ 200,000-300,000 US$ 6,840-10,300 HK$ 53,100-79,600

蔡雲程 (b.1929) (1929-2009)

CHUA Hu

藍色交響曲 —霧中古城

Blue Symphony-Ancient City

油彩畫布 1977

in the Fog

簽名右側 : CHUA-77138×82cm(57.5×32.3in.)

展覽「蔡雲程畫展」，中國美術館，2007 年。

出版《蔡雲程畫集》，人民美術出版社，2007 年，第 58 頁。

Oil on canvas 1977 Signed right side: CHUA dated 1977

Exhibition: "Solo Exhibition of CHUA Hu 呈 ", National Art Museum of China, 2007

Literature: Paintings of CHUA Hu Cheng , People's Fine Arts Publishing House, 2007, P.58

NT$ 750,000-1,200,000 US$ 25,700-41,100 HK$ 199,000-318,000 30

《蔡雲程畫集》封面

蔡雲程蔡雲程 (b.1929) (1929-2009) 藍色交響曲 —飛向未來

CHUA Hu

油彩油蠟筆紙板 2000

Oil and postel on board 2000 Signed lower right: CHUA Hu, dated 2000

簽名右下 : CHUA Hu 呈 -200079×55cm(31.1×21.7in.)

展覽「蔡雲程畫展」，中國美術館，2007 年。

出版《蔡雲程畫集》，人民美術出版社，2007，

Blue Symphony-Into the Future

Exhibition: "Solo Exhibition of CHUA Hu 呈 ", National Art Museum of China, 2007.

Literature: Paintings of CHUA Hu Cheng , People's Fine Arts Publishing House, 2007, P.107.

第 107 頁。

NT$ 750,000-1,200,000 US$ 6,840-10,300 HK$ 53,100-79,600 32

《蔡雲程畫集》封面

王文平 (b.1960)

WANG Wen Ping

熱浪

Heating Wave

油彩畫布 1998-2001

Oil on canvas 1998-2001

簽名畫背 : 王文平熱浪 98-2001

Signed on reverse: Wang wen Ping

油畫 . 畫布 80F

and Heating Wave in Chinese, dated

146×112cm(57.5×44.1in.)

1998-2001, oil on canvas, 80F

NT$ 300,000-400,000 US$ 10,300-13,700 HK$ 79,600-106,000

清新、純淨的灰與白，迎面而來，是這幅畫作予人的第一眼印

龐均 (b.1936)

象。Lot22 龐均〈甲天下煙雨〉，作者發揮其深厚的表現功底，

甲天下煙雨

畫出孤峰奇石、羅列左右，江面平波如鏡、倒影連成一片。右側江渚搭上幾間小屋、灰瓦白牆，幾葉輕舟泊靠。畫面正中

油彩畫布 2010

一座船屋、兩艘竹筏，緩緩劃破江面，穿過重重石林，漸行

簽名右下 : 龐均均 2010

漸遠，隱身沒入煙雨之中，光影迷離詭幻如夢境。此畫敷彩雖

61×73cm(24×29in.)

厚，但用筆簡練、設色淡雅，乃真正體現出中國傳統文人畫所蘊含的逸韻詩意。藝術家出版社《龐均，走過 58 年藝術生涯》

附藝術家親自簽名保證書

一書中收錄有幅〈漓江煙雨〉，構圖與風格與本畫近似。

PANG Jiun

本場還徵集有 Lot23〈長青路〉、Lot24〈桔梗與百合〉兩張龐

Guilin Landscape

均畫作。類似作品如常熟美術館所編《龐均的藝術 ‧ 鄉情與視

Oil on canvas 2010 Signed lower right: Pang Jiun in Chinese, dated 2010, with one seal of the artist. With a certificate of authenticity signed by the artist

NT$ 700,000-800,000 US$ 239,00-27,400 HK$ 186,000-212,000

角》所收錄之〈百合與小菊花〉、〈線菊與星辰〉等件。

龐均 (b.1936)

PANG Jiun

長青路

Path between Trees

S 形步道，取景臨近湖邊，夾岸的林蔭

油彩畫布 2007

Oil on canvas 2007

空、湖水形成對比，景色和煦安謐。

簽名左下 : 龐均 2007 均

Signed lower left: Pang Jiun in Chinese, dated

72.5×60.5cm(28.5×23.8in.)

2007, with one seal of the artist.

NT$ 550,000-650,000 US$ 18,800-22,200 HK$ 146,000-172,000

Lot23〈長青路〉畫出一條蜿蜒曲折的幾乎覆蓋了整張圖面，與灰白色的天

龐均 (b.1936)

PANG Jiun

桔梗與百合

Balloon Flowers with Lily

油彩畫布 2007

Oil on canvas 2007

質，畫中兩件瓶花位居正中，筆法活

簽名左下 : 龐均 2007 均

Signed lower left: Pang Jiun in Chinese, dated

潑、施彩豐富且濃厚，為作品帶來一

72.5×60.5cm(28.5×23.8in.)

2007, with one seal of the artist.

些輕鬆的自然氛圍。

Lot24〈桔梗與百合〉屬於花卉靜物摹寫，則是龐均畫作中常見的題材，尤其擅於表現出百合花清香高雅的氣

NT$ 550,000-650,000 US$ 18,800-22,200 HK$ 146,000-172,000

劉其偉 (1912-2002)

Max LIU

天馬

Horse from Heaven

馬，屈膝低頭，馬身肩、股部位寫有「天馬」

複合媒材紙

Mixed media on paper

構圖的作品，可見於藝術家出版社《劉其偉

簽名左上 : ㄌㄧㄡ ˊ ㄑㄧ ˊ ㄨㄟ

Signed upper left: ㄌㄧㄡ ˊ ㄑㄧ ˊ ㄨㄟ ˇ in Mandarin Phonetic Symbols, with one seal of the artist

水彩集》所收錄之〈天馬〉及《劉其偉繪畫

ˇ 鈐印一枚 33×48cm(13x20in.)

展覽「劉其偉教授個人畫展」，馬來西亞丹青畫廊，1983 年。

Exhibition: "Solo exhibition of Professor Max Liu", Malaysia, 1983. Private Collection in Asia(Acquired from the exhibition mentioned above)

亞洲私人收藏 ( 購自上述展覽 )

NT$ 300,000-380,000 US$ 10,300-13,000 HK$ 79,600-101,000 38

Lot25〈天馬〉，畫中一匹配掛紅色鞍韉的白二字，畫作左上方有作者簽名。類似風格及

創作文件》收錄之〈祈福馬〉等例。本件乃原藏家於馬來西亞所舉辦的劉老首次個展時所購，來歷清楚且珍貴。

劉其偉 (1912-2002) 少女與貓複合媒材紙簽名左上 : ㄌㄧㄡ ˊ ㄑㄧ ˊ ㄨㄟ ˇ

Max LIU Maiden with a Cat

Lot26〈少女與貓〉，貓也是劉其偉相當喜愛的創作題材之一，該幅畫了一位身著淡藍長衫的長髮少女，笑容親

Mixed media on paper

切甜美，懷中環抱一隻小黑貓倚靠在

Signed lower right: ㄌㄧㄡ ˊ ㄑㄧ ˊ ㄨㄟ ˇ in Mandarin Phonetic Symbols

窗邊，窗台上還有另一隻黑貓，模樣可愛。

71.5×55cm(28.1×21.7in.)

NT$ 300,000-400,000 US$ 10,300-13,700 HK$ 79,600-106,000 39

27-a

27-b

27-c

27-d

27-e

27-f

27-a~l

劉其偉 (1912-2002)

Max LIU

十二生肖 (12 件一組 )

Chinese Zodiac-Rat

版畫 (E.A.)

(A Set of Twelve Pieces)

簽名右下 : ㄌㄧㄡ ˊ ㄑㄧ ˊ ㄨㄟ ˇ 28.5×38.5cm(11×15.2in.)

Print(E.A.) Signed lower right: ㄌㄧㄡ ˊ ㄑㄧ ˊ ㄨㄟ ˇ in Mandarin Phonetic Symbols

NT$ 350,000-450,000 US$ 12,000-15,400 HK$ 92,800-119,000

27-g

27-h

27-i

27-j

27-k

27-l

劉其偉，1912 年生於福建省福州市，祖籍廣東中山縣；

Lot27〈十二生肖〉系列版畫，一組 12 件。動物題材一向是

1932 年進入日本官立東京鐵道局教習所專門部電機科就讀。

劉老所擅長，十二生肖則為東方古老的紀年習俗，在中國還

1949 年中央政府遷台，38 歲的劉其偉到中山堂觀賞香洪畫

能與十二地支相對應結合，該作形象天真逗趣，無論是鼠兔

展後受到啟發，自習繪畫。1963 年榮獲中國畫學會頒贈第

羊雞；或是龍虎蛇犬，模樣都相當友善，加上用色鮮艷活潑、

一屆最優水彩畫家金爵獎； 1965 年赴越南戰地擔任工程師，

簡化背景處理，每幅作品栩栩如生，效果十分逗趣討喜。

自此開始從事古文明、土著部落、野生動物等調查活動，出版相關美術及文化著述； 2001 年獲總統頒發文建會第四屆「文馨獎」。劉其偉老師人稱老頑童，正式習畫的時間較晚，卻不影響其藝術成就。所作無論是動物和人物，總以豐富的人生閱歷和簡單的色調筆觸，使作品看來充滿幽默和童心之趣，顯示出對生命和自然環境的熱情。

彭光均 (b.1961) 嫦銅雕 (8/8) 2009 簽名 : 2009 8/8 光均 60×37×24cm(24×15×9in.) 附威廉藝術中心藝術家作品保證書

PENG Kuang Chun Chang Bronze(8/8) 2009 Signed: dated Aug. 8th, 2009, kuang Chun in Chinese With a certificate of authenticity signed by the artist and issued by William Art Space

NT$ 180,000-260,000 US$ 6,160-8,890 HK$ 47,700-69,000

彭光均 (b.1961) 嬌銅雕 (A.P. 4) 2004 簽名 : 2004 光均 AP4 72×30×30cm(28×12×12in.) 附威廉藝術中心藝術家作品保證書

PENG Kuang Chun Chiao Bronze(A.P. 4) 2004 Signed:dated 2004, Kuang Chun in Chinese, AP4 With a certificate of authenticity signed by the artist and issued by William Art Space

NT$ 150,000-200,000 US$ 5,130-6,840 HK$ 39,800-53,100

薩爾瓦多．達利 (1904-1989)

Salvador DALI

抽屜人

Cabinet Anthropomorphique

銅雕

Bronze Signed on the back: salvador Dali

簽名後方 : salvador Dali 31×11×20cm(12.2×4.3×7.9in.)

NT$ 80,000-150,000 US$ 2,740-5,130 HK$ 21,200-39,800

藤田嗣治 (1886-1968) 抱著貓的女孩版畫 (H.C.) 簽名右下 : Foujita 簽名左下 : H.C. 56.5×36cm(22××14in.)

FUJITA Tsuguharu Girl in Holding a Cat Print (H.C.) Signed lower right: Foujita Signed lower left: H.C.

NT$ 250,000-350,000 US$ 8,550-12,000 HK$ 66,300-92,800

藤田嗣治 (1886-1968) 夢版畫 (E.A.) 簽名右下 : Foujita 簽名左下 : E.A. 45×59cm(18×23in.)

FUJITA Tsuguharu Fancy Print (E.A.) Signed lower right: Foujita Signed lower left: E.A.

NT$ 160,000-250,000 US$ 5,470-8,550 HK$ 42,400-66,300 33 46

藤田嗣治 (1886-1968)

FUJITA Tsuguharu

金髮女郎

Blond Lady

版畫

Print Signed right side: Tsuguharu in Chinese, Foujita

簽名右側 : 嗣治 Foujita 34×24cm(13×9in.)

1886 年生於東京的藤田嗣治，是日本畫家中，最早在巴黎畫壇成名的一位。在東京美術學校的黑田清輝教室畢業後，於 1913 年到達巴黎，認識莫迪利亞尼、史丁、畢卡索等畫家。他以乳白色肌理的畫面採取細墨線條描繪輪廓的女性裸體畫，在潔淨單純白色中，描繪出女性肌體美，令人聯想到浮世繪特色。他把日本傳統與巴黎現代主義融合成獨自風格。

NT$ 70,000-110,000 US$ 2,390-3,760 HK$ 18,600-29,200

第二次世界大戰期間，藤田嗣治返回日本，受日本軍方委託描繪戰爭實景繪畫，於 1949 年 3 月前往美國。但他在紐約短暫停留之後，最終決定回到巴黎，於 1950 年移居巴黎，歸化法國。他的繪畫題材早期以生活周圍的器物、動物、女性肖像和兒童故事為主，晚年多以群像和宗教為題材。本次的版畫作品 Lot32〈抱著貓的女孩〉﹑Lot33〈夢〉及 Lot34〈金髮女郎〉富有其享譽早年巴黎畫壇的乳白色肌理線條及細膩帶點抑鬱的光影，精彩的詮釋了其歷久彌新的過人魅力，為藤田揮灑的極為純熟的精彩版畫。 47

瑪莉．羅蘭珊 (1883-1956) 信任版畫 (24/250) 簽名右上 : Marie LAURENCIN 簽名左下 : 24/250 60×49.5cm(24×19in.)

Marie LAURENCIN Coniﬁdences Print(24/250) Signed lower right: Marie LAURENCIN Signed lower left: 24/250

NT$ 50,000-80,000 US$ 1,710-2,740 HK$ 13,300-21,200

瑪莉．羅蘭珊 (1883-1956) 珍珠女郎版畫 (51/100) 簽名右下 : Marie LAURENCIN 簽名左下 : 51/100 40×29cm(16×11in.)

Marie LAURENCIN A Lady with Pearl Necklace Print(51/100) Signed lower right: Marie LAURENCIN Signed lower left: 51/100

NT$ 80,000-120,000 US$ 2,740-4,110 HK$ 21,200-31,800

36 48

瑪莉．羅蘭珊 (1883-1956) 伯朗特姊妹版畫 (108/115) 1930 簽名下方 : 108/115 Laurencin Emily 32×23cm(13×9in.)

Marie LAURENCIN Sister of Bronte Print(108/115) 1930 Signed lower: 108/115, Laurencin Emily

NT$ 60,000-80,000 US$ 2,050-2,740 HK$ 15,900-21,200

強．詹森 (b.1920) 母與子版畫 (62/120) 簽名右下 : Jansem 簽名左下 : 62/120 66.5×50.5cm(26×20in.) 附 ORIGIN COMPANY LIMITED 作品證明書

Jean JANSEM Mother and Child Print(62/120) Signed lower right: Jansem Signed lower left: 62/120 With a certificate of authenticity issued by Origin Company Limited

NT$ 60,000-100,000 US$ 2,050-3,420 HK$ 15,900-26,500

38 49

39a~b

馬克．夏卡爾(1887-1985) (兩件一組)

a. 女曲馬師版畫 1956 簽名下方 : 1956 Marc Chagall 36.5×53cm(14×21in.)

b. 赤馬與太陽版畫 1979 42×30cm(17×12in.)

Marc CHAGALL

(A Set of Two Pieces) 39a

a.Horse Trainer Print 1956 Signed lower: dated 1956, Marc Chagall

b.Red Horse and Sun Print 1979

NT$ 150,000-300,000 US$ 5,130-10,300 HK$ 39,800-79,600

39b

馬克．夏卡爾(1887-1985)

Marc CHAGALL

艾菲爾鐵塔的戀人

Lovers under Eiffel Tower

版畫 (223/300)1975

Print(223/300) 1975

簽名右下 : Marc Chagall

Signed lower right: Marc Chagall

簽名左下 : 223/300

Signed lower left: 223/300

47×35.5cm(19×14in.)

NT$ 180,000-260,000 US$ 6,160-8,890 HK$ 47,700-69,000

41a~b

( 兩件一組 )

a.安迪．沃荷 (1928-1987) 瑪麗蓮夢露膠印版畫 60×52cm(24×20in.)

b.馬克．夏卡爾(1887-1985) 雄雞與戀人版畫 1965-1970 簽名右下： Marc Chagall 44×37.5cm(17×15in.)

a.Andy WARHOL Marilyn Monroe Offset lithograph

b.Marc CHAGALL Rooster and Lover 41a

Print 1965-1970 Signed lower right: Marc Chagall

NT$ 120,000-200,000 US$ 4,100-6,840 HK$ 31,800-53,100

41b 52

尚．皮耶．卡辛紐 (b.1935) 秋版畫 (5/150) 1980 簽名右下 : Cassigneul 簽名左下 : 5/150 64×46cm(25×18in.)

Jean Pierre CASSIGNEUL Autumn Print(5/150) 1980 Signed lower right: Cassigneul Signed lower left: 5/150

NT$ 60,000-90,000 US$ 2,050-3,080 HK$ 15,900-23,900

尚．皮耶．卡辛紐 (b.1935) 自轉車版畫 (158/200) 1979 簽名右下 : Cassigneul 簽名左下 :158/200 64×46.5cm(25×18in.)

Jean Pierre CASSIGNEUL The Bike Print(158/200) 1979 Signed lower right: Cassigneul Signed lower left: 158/200

NT$ 60,000-90,000 US$ 2,050-3,080 HK$ 15,900-23,900

阿曼，1928 年出生於法國。他擅於將物件切割後再堆積組合，成為其主要的創作風格 —集合主義。切割的主題對象例如：希臘神像、樂器、家具、汽機車、工具零件等，阿曼經由創作將日常生活中熟悉的消費性物品，以另一種藝術形式保存下來，並將原有的事物賦於不同的面貌與意義，進而發掘物體潛在的功能。作者將這些經過分割、拆解後的物件，以重覆、複製、分解、結合等獨特手法呈現出「量」的感覺，故其作品常可視為是人類生活與情感的分合。 90 年代中葉，阿曼再次嘗試將維納斯、海神等古希臘神像解剖，並結合「開門」與「開窗」的概念，將被分解的部份栓上如門窗所用的旋轉鈕軸構件，使得觀賞者面對雕塑時，可以親自體驗將希臘神像分解再組合之過程。本場 Lot44〈小愛費柏〉，作於 1995 年，作者將小愛費柏之軀體縱向切割成 6 塊，再各自以活葉接合，各部份可以任意打開關閤，觀賞角度自由變化，使其成為一尊活的藝術雕像。透過阿曼的藝術，我們可以發現隱藏於生活世界中的奧妙與趣味，正由於這種寓理於趣、形質並重的風格，只要他的作品一出現，便能吸引藝術愛好者的關注，而成為全場的焦點。阿曼作品曾多次於國際間展出，如 1996、2000 年台北國際藝術博覽會、2001 年上海國際藝術博覽會；亦獲得上海大劇院、台北國家音樂廳、法國羅浮宮等機構永久典藏。 1996 年 11 月 26 日於民生報副刊中曾有專文報導，對本件阿曼銅雕作品〈小愛費柏〉評述良多，實為值得珍藏之藝術精品。

阿曼 (1928-2005) 小愛費柏銅雕 (3/40) 1995 簽名底座 : Arman 簽名座後 : bocqual Fd. 3/40 35×22×19cm(14×9×7in.) 附現代藝術空間原作保證書

展覽「 ART TAIPEI 1996 國際藝術博覽會」，台北， 1996 年。註 :1996 年〈民生報〉報導主推「小愛費柏」

ARMAN Pierre Fernandez Figure Bronze(3/40) 1995 Signed on the bottom: Arman Signed on the back: bocqual Fd. 3/40 With a certificate of authenticity issued by Modern Art Gallery

Exhibition: “ART Taipei”,TAIPEI, 1996.

NT$ 300,000-380,000 US$ 10,300-13,000 HK$ 79,600-101,000

楊英風 (1926-1997)

Yuyu YANG

常新

New Forever

不鏽鋼 (15/20) 1990

Signed on the back: dated 1990, YUYUYANG FANG in

簽名後方 : '90 呦呦楊英風 YUYUYANG FANG 15/20

Chinese and English 15/20

高 113× 寬 60× 長 37cm(44×24×15in.)

Literature: 出版《楊英風全集Ⅰ 》，藝術家出版，2005，第 313 頁。

YUYU YANG CORPUS Ι ,ARTIST,2005,P.313. YUYU YANG-Vanguard on Native Soil ,KAOSIUNG MUSEUM

《楊英風 —站在鄉土上的前衛》，高雄市立美術館、財團法人

OF FINE ARTS,2006,P.188.

楊英風藝術教育基金會，2006 年，第 188 頁。

YUYU YANG’S LIFESCAPE SCULPTURE ,YUYU YANG

《呦呦楊英風，豐實的 95》，楊英風美術館，1995，第 17 頁。

LIFESCAPE SCULPTURE MUSEUM,1995,P.17.

《雕塑「東」、「西」的時空》，香港科技大學圖書館，1998，

SCULPTURING TIME AND SPACE-Yuyu YANG ,The Hong Kong University of Science and Technology Library,1998, P.22-23. Yingfeng ying xiang : "Yang Yingfeng quan ji " chu ban ji

第 22、23 頁。《英風映像》，藝術家出版社，2011，第 68 頁。《景觀 ‧ 自在 ‧ 楊英風》，雄獅美術，2004，第 158 頁。

shi,Artist Publishing Co.,2001, P.68.

Landscape-Comfortable Yuyu Yang ,Lionart Magazine,2004,P.158.

NT$ 500,000-700,000 US$ 17,100-23,900 HK$ 133,000-186,000

楊英風先生可說是台灣近代雕塑界的代表人物之一，創作象徵自然環境的保護方能帶來生態的循環交融，永續不息。形式及材質多樣化，更透過作品與景觀環境的結合，將藝術同系列作品之一曾在台北中正紀念堂廣場展示後，移至台表現極致發揮，引領著時代審美潮流。本次拍品 Lot45〈常南市國泰世華銀行前；景薰樓 2009 年春拍中，也曾有一件新〉，是楊氏於 1990 年以不銹鋼創作〈常新〉主題系列之一。 Lot32〈常新〉同名作品，成交價台幣 112 萬 1 千元，表現該作原為響應 1990 年世界地球日而設計，作者試圖打破西亮眼。方框架思維，以一條扭轉靈動的方體環帶圍繞居間的地球，

朱銘 (b.1938) 牛青銅 (2/20) 1981 簽名座後 : 朱銘 2/20 '81 高 28.5× 長 28× 寬 16cm(11×11×6in.) 附吉優特國際股份有限公司作品保證書

JU Ming Cattle Bronze(2/20) 1981 Signed on the back: Ju Ming in Chinese, 2/20, dated 1981 With a certificate of authenticity issued by GIUTER Co. Ltd.

NT$ 300,000-450,000 US$ 10,300-15,400 HK$ 79,600-119,000

朱銘 (b.1938) 人間系列木雕 2011 簽名底部 : 朱銘 11 20.9×12.5×16.5cm(8.2×4.9×6.5in.) 註 : 此作品不包含木頭底座附藝術家親自簽名保證書編號 : No. C-SCW0258

JU Ming Living World Series Wood 2011 Signed on the bottom: Ju Ming in Chinese, dated 2011 Note:The wooden base is not included in the artwork With a certificate of authenticity signed by the artist

NT$ 400,000-500,000 US$ 13,700-17,100 HK$ 106,000-133,000

李真 (b.1963)

LI Chen

無憂國土

Pure Land

銅雕 (6/8) 1998

Bronze(6/8) 1998 Signed on the foot: Li Chen 6/8, with one seal of the artist

簽名腳底 : Li Chen 6/8 鈐印底座 : 李真 110×63×40cm(43×25×16in.) 附藝術家親自簽名保證書

展覽「第 52 屆威尼斯國際藝術雙年展 —尋找精神的空間．虛空的能量：李真雕塑展」，未來展望美術館，威尼斯，展期自 2007 年 6 月 10 日至 11 月 21 日。「李真：精神．身體．靈魂」，新加坡美術館，新加坡，展期自

With a certificate of authenticity signed by the artist

Exhibition: “Li Chen in 52nd Venice Biennale -Energy of Emptiness”,Telecom Italia Future Centre,Venice,June10-November21, 2007. “Li Chen:Mind. Body. Spirit”,Singapore ArtMuseum,Singapore,Sptember25-December9,2009 “Greatness of Spirit-Li Chen Premiere Sculpture Exhibition in Taiwan”Road of Democracy and the Main Plaza of CKS Memorial Hall,Taipei,November6-December4,2011.

2009 年 9 月 25 日至 12 月 9 日。「大氣 —李真台灣大型雕塑首展」，中正紀念堂 —民主大道、兩廳院藝文廣場 ( 自由廣場 )，台北，展期自 2011 年 11 月 6 日至 12 月 4 日。( 另一尺寸版本 )

出版《 1992-2002 李真雕塑》，亞洲藝術中心，北京，2004，彩色圖版，第 40-42 頁。《李真 - 虛空的能量：第 52 屆威尼斯國際藝術雙年展》，台北：亞洲

Literature: Li Chen 1992-2002Sculpture ,Asia Art Center,Taipei,2004,color illustrated, P.40-42. Li Chen Energy of Emptiness 52nd International Art Exhibition - La Biennale de Venezia ,Asia Art Center Co. Ltd.,Taipei, 2007, color illustrated, P.30-31;black-and-white illustrated, P.216. Li Chen: In Search of Spiritual Space ,2008 Solo Exhibition at Museum of China,Asia Art Center, Taipei,2008,color illustrated,P.194.

藝術中心，2007，彩色圖版，頁 30-31；黑白圖版，第 216 頁。《李真 - 尋找精神的空間》，台北：亞洲藝術中心，彩色圖版，第 194 頁 ( 另一尺寸版本 )。

拍品 Lot48〈無憂國土〉，長 110 公分、寬 63 公分、厚 40 公分，造型為一身著單薄衣物的童子，伸臂過頭，左膝斜交右腿，雙眼微閉，若有似無的微笑，彷彿身在夢中，零重力、輕飄飄的翱翔於雲山天際間。

NT$ 4,200,000-5,000,000 US$ 144,000-171,000 HK$ 1,110,000-1,330,000

Lot 48〝 Pure Land〞displays that a closing-eye child putting his arm over his head, two legs are twisted. With smile, he put himself in a dream without gravity, moving within the sky.

《心經》有云：「是諸法空相，不生不滅，不垢不淨，不增不減」。 HEART SUTRA： Shariputra, all Dharmas are empty of characteristics. They are not produced, not destroyed, not defiled, not pure; and they neither increase nor diminish.

李真，本名李正富。求學期間便受到多位台灣當代重要藝術

「南海」、「藥師」、「彌陀」、「世尊」、「文殊」、「普賢」、

家如陳幸婉、鄭瓊銘、李錦繡、黃步青的啟蒙薰陶，根基

「大士」……等主題，還為雕塑品注入了難以名狀的「禪學」、

紮實。早年曾從事佛像雕塑，並藉此浸淫於宗教美術和佛學

「心靈」、「氣」、「能量」……諸般奧義，莫測高深。大小

文化之中，對於日後的專題創作助益頗多。1999 年首次在

作品形態協調，萬象歸一，圓融通達，表現了作家靜觀百

台北國際博覽會上以「虛空中的能量」為名進行發表，是時

態的純善無暇本心。設計上擅以簡潔流暢的線條修煉外型，

正逢當代藝術熱潮高漲之際，立刻引發華人藝文界的瘋狂矚

渾圓肥柔的軀段，或稚真無邪之面容，一如初生嬰兒的璞

目。作者及其經營團隊旋即於翌年起陸續在國內、外開辦

真，童心未脫、纖塵不染；或法相莊嚴凝穆，頗有唐宋遺

「虛空化境－界中界」、「大氣神遊」、「虛空中的能量」、「尋

風。看似張力沛然，氣度飽滿，卻又不見一絲鈍拙，成就

找精神的空間」、「造化之不生不滅」……等個人展，地點遍

了「舉重若輕」的超凡境界，也完美揉合了千年傳統與現代

及紐約、義大利、北京上海、新加坡、西雅圖多處，因而

風格的佛像雕塑轉型。本場共徵集了名家李真的三件銅雕

聲名鵲起，奠定了李真在國際間的藝術創作地位。

拍品： Lot48〈無憂國土〉、Lot49〈合十〉及 Lot50〈思維觀

作者試圖引入妙不可言的佛家形象或典故，如「無量壽」、

音〉。

Lot49〈合十〉高 86 公分、寬 32 公分、厚 29 公分，主體為

Lot 49〝 All in one〞looks like an Buddha with a piece of Kasaya, with each feature from facial to whole body. It stands on the bottom of stone. Gray and black are decorated the whole sculpture, gray parts with imitation stone incision contrast to black bright smooth has a great influence on people.

一斜披袈裟的佛陀造型，佛陀方臉廣額、肉髻微凸，低眉垂目、歛口不語，袒右胸、跣足，雙手於胸前合掌，足下承一圓厚蒲團式底座。兩件作品通體灰黑二色，灰色部份刻意留下似石刻般的細碎斧鑿刀工，與黑色光面對比鮮明，韻味深沉。 62

李真 (b.1963) 合十銅雕 (EA 3/4) 1998 簽名後方 : Li Chen EA 3/4 鈐印後中及底座 : 李真 1998 長 86× 寬 32×29cm (34×13×11in.) 附藝術家親自簽名保證書

LI Chen All in one Brozze(EA 3/4) 1998 Signed on the back: Li Chen, EA 3/4, with two seals of the artist, dated 1998 With a certificate of authenticity signed by the artist

NT$ 2,800,000-3,800,000 US$ 95,800-130,000 HK$ 743,000-1,010,000

49 63

李真 (b.1963)

LI Chen

思惟觀音

Thought Guanying

銅雕 (2/30) 1994 60×19cm(24×7in.)

Bronze(2/30)1994 Signed on the back: Li Chen in Chinese, dated 1994, 2/30

附藝術家開立之收藏證明書

With a Letter of certificate issued by artist

簽名後方 : 李真 1994 2/30

NT$ 450,000-500,000 US$ 15,400-17,100 HK$ 119,000-133,000

千年佛教雕塑既有的形式固然形成一個藩籬，但由於李真表達方式具有時代新穎的氣質，使得作品傳達出東方文化的精神與內涵，讓人感受到生命的和諧及省思，圓滿而大氣，一如這件 Lot 50〈思惟觀音〉。此作寬 60 公分、寬 19 公分，半跏趺坐於蓮座，髮束高髻，上身斜掛披帛，戴項圈及臂釧腕環，下著長裙，左掌撫腿、右肘支膝，雙眼微閉，面露微笑，作沉思相，身後以一道銅絲圈出背光，該件類屬於傳

Chinese Buddhism, spreading thousands of years, form a sanctitude isolation, on the contrary, LI’s sculptures is one of innovation way to convey the content and spirit of Eastern Culture that makes people feel harmony in life. Lot 50〝 Thought Guanying〞which sits on Rosette, wearing a collar and armlet. Her gestures with smile that reappears traditional image, conveys spirit of beauty to like nature itself.

統造型的再現，精簡中有渾然天成的氣韻之美，表現出獨特的新東方精神與意境。

莫高窟第 417 窟，思惟菩薩

北周思惟菩薩像漢白玉

陳庭詩 (1915-2002) 夾鐵雕 2000 簽名後座 : C. T. Shih 2000 49.5×25×14cm(19×10×6in.) 附首都藝術中心原作保證書

CHEN Ting Shih Chia Iron 2000 Signed on the back: C.T. Shih, dated 2000 With a certificate of authenticity issued by Capital Art Center

NT$ 190,000-260,000 US$ 6,500-8,890 HK$ 50,400-69,000

謝棟樑(b.1949) 義薄雲天關雲長青銅雕 (3/10) 1993 簽名後方 :1993 棟樑 3/10 65.5×54×43.5cm(27×22×18in.) 附藝術家親自簽名保證書

Tong Liang HSIEH Morality up to the Clouds Broze3/10 1993 Signed on the back: dated 1993,Tong Liang in Chinese, 3/10 With a certificate of authenticity signed by the artist

NT$ 260,000-350,000 US$ 8,890-,12,000 HK$ 69,000-92,800

蕭一 (1956-2006)

HSIAO Yi

一鳴驚人

Become Famous Overnight

銅雕 (9/12) 2005

Bronze(9/12) 2005

簽名後方 : 蕭一 2005 9/12

Signed on the back: Hsiao Yi in Chinese, dated

87×72×53cm(34×28×21in.)

2005, 9/12

附藝術家家屬親簽保證書

With a certificate of authenticity signed by the artist's son

NT$ 240,000-330,000 US$ 8,210-11,300 HK$ 63,700-87,500

蕭一 (1956-2006) 觀音銅雕 (9/12) 2000 簽名後方 : 蕭一 2005 9/12 70×13×15cm(28×5×6in.) 附藝術家家屬親自簽名保證書

HSIAO Yi Guanyin Bronze(9/12) 2000 Signed on the back: Hsiao Yi in Chinese, dated 2005, 9/12 With a certificate of authenticity signed by the artist's son

NT$ 75,000-100,000 US$ 2,570-3,420 HK$ 19,900-26,500

54 69

范康龍 (b.1965) 流浪狗系列樟木 1996 簽名後方 : 康龍 36×33×20cm(14×13×8in.)

Kang Lung FANN Tramp Series Camphor 1996 Signed on the back: Kang Lung in Chinese, dated 1996

NT$ 180,000-240,000 US$ 6,160-8,210 HK$ 47,700-63,700

黃銘哲 (b.1948) 飛越新世紀銅雕 ( 限量十件 ) 簽名底座 : 哲 180×113×14cm(71×44×6in.)

Michell HWANG Beyond the New Age Bronze(Ten are Limited) Signed on the bottom: Chu in Chinese

NT$ 240,000-380,000 US$ 8,210-13,000 HK$ 63,700-101,000

謝宏達 (b.1953) 溪畔沉思油彩畫布 2012 簽名右下 : 達 .2012 90×168cm(35×66in.)

HSIEH Hung Da Envision with Pool Oil on canvas 2012 Signed lower right: Da in Chinese, dated 2012

NT$ 750,000-950,000 US$ 25,700-32,500 HK$ 199,000-252,000

謝宏達 Lot57 謝宏達〈溪畔沉思〉，作者現為台北教育大學藝術與造形設計學系副教授，曾受藝於廖繼春、李石樵、席德進等諸位畫壇巨匠，累積了相當深厚的繪畫基礎。該畫作以寫實之表現手法，描繪出新北市金瓜寮溪的秀麗風貌，一泓淺溪穿林而過，投映出翠華如茵，好山好水綠意盎然；潺潺流泉、澄澈見底，蒼蔭吟風、沁涼宜人。由於畫幅寬大，給予觀者恍若置身其中的閒適感受。作者運用嫻熟細膩的油畫技巧，以台灣林野間的河溪景致為題，不只是對景物的單純寫生，更兼具訴求愛護鄉土生態、珍惜水資源的美好祈願。

HUNG Tung

洪通 (1920-1987)

Coconut Tree

椰樹圖

Watercolor and color pen on paper is

水彩彩色筆紙裱於木板 1973 簽名左下 : 洪通中華民國 602 年法明山水 , 鈐印五枚

mounted on board 1973 Signed lower left: Hong Tong in Chinese, dated R.O.C 602 and entitled, with five

159×43cm(63×17in.)

seals of the artist

NT$ 3,400,000-4,000,000 US$ 116,000-137,000 HK$ 902,000-1,060,000

20 世紀台灣傳奇素人畫家洪通，上個世紀台灣素人畫家的代表之一，一個從未接受過正規教育及美術訓練的平民，50 歲後才開始投入繪畫。洪通畫作是台灣文化界的一個空前異數，在西方主義舖天蓋地的時空背景下少見的本土藝術，鮮明的個人風格，摻和濃烈的民俗情懷，造就出一個前所未有的洪通，他的畫作充滿著夢境般的迷離感，形體是變形扭曲的，作者以大量的色彩和細碎的線條去處理圖塊細部，有類似古代織繡、印染花布的效果；熱鬧紛呈的畫面加上變體文字，也像是節慶年畫所具有的喜樂氣氛。

Hong Tong, one of representative aesthetic citizen in Taiwan, who is never educated by normal art training process. When Hong’s at the age of 50, he devoted himself into drawing paintings. Ta i w a n e s e c u l t u r e , w i t h o b v i o u s personality, combining sentiment for nationality made him become unique. Hong’s art formed rare local art style i n t re n d o f We s t e r n C u l t u re . H i s paintings are full of sense of dreaming in wonderland, with twisting figures with abundant colors as well as parts of composition with tiny lines in order to express effect of ancient embroidery and dyed Fabrics. Artistic composition with twisting figures is similar to the atmosphere of festivals in cultures.

本場拍品 Lot58〈椰樹圖〉，尺寸 159×43cm，長幅畫面被切割成三部分，上段以一座三角橋形的磚構建築為主體，橋上有人和長的像鐵樹、孔雀翎、燭臺的植物堆疊；橋下面有圓拱，透過拱洞還可看見人和房子。中段主要部分以黑色作底，有大人帶著可愛的小孩、鳥首人身，圍繞在大樹周圍，畫幅下段畫了幾尾彩色大

Lot 58〝 Coconut〞, 159x43cm, it’s divided into three parts, one expresses figures on a triangle brick-structure bridge, there’re figures and objects under it. Another expresses detailed figures around the tree on black-ground. The other appears colorful fish which are Hong’s imagination, with five seals of the artist on the lower left of painting.

魚，這或許是作者的夢中實景加上內心想像幻化而成！畫面左下有以人和魚組成「洪通」二字的落款和五枚鈐印。

金潤作 (1922-1983)

Chin Jun Tso

紗帽山日出

Sunrise at Shamao Mountain

油彩麻布 1970-

Oil on linen 1970-

簽名畫背 : 金潤作畫金周春美證 1987.9.19

Signed on the reverse: Chin Jun Tso, identfied

50×60cm(20×24in.)

by his wife, dated Sep. 19th, 1987

展覽

Exhibition:

「金潤作回顧展」，台北市立美術館，1994 年5 月。

出版 : 《金潤作回顧展》台北市立美術館，1994 年，第 48-49 頁。

“The Retrospective Exhibition of Chin Jun-Tso”, Taipei Fine Art Museum, May in 1994.

Literature: The Retrospective Exhibition of Chin Jun-Tso, Taipei Fine Art Museum, 1994, P.48-49

NT$ 2,000,000-2,800,000 US$ 68,400-95,800 HK$ 531,000-743,000

金潤作晚年，簡單悠閒的自在生活，不拘泥外在的形體之美被內在不斷躍升的創作情愫取代，在純粹的創作天地裡，凡事皆可拋。1957 年赴日本考察手工藝設計，受到現代西方大師作品的影響，金潤作對於立體派大師布拉克 (George Braque) 特別著迷，使得他的畫面肌理的處理，色調的配置，物體的形象造形方面受到啟發。作品 Lot59〈紗帽山日出〉為其回顧展裡面的封面。畫面中看不到精細的寫實描繪，反而用單純的形體將畫面切成數個塊狀，畫中可以發現金潤作思考的歷程，油彩的層次透露出多次的嘗試，景物在多次的描繪下，反而變成平衡畫面的要素。金潤作說畫作的材料、技術、形式都不重要，最重要的是如何適當的表現內心的感覺。他追求的不是寫實的景物描繪，而是心中意象的重現，作品中簡化的形象加入多層次的色調，極成功的營造出獨特吸引人的朦朧意境，為相當珍貴的一件作品。

CHIN put himself in leisure farm life that he focuses creative source instead of physical structure. He also believes that there’s nothing is more important than creation in the world. In 1957 he went abroad to Japan for visiting Craftsmanship Design, was inspired by George Braque, he was enlighten in composition of texture, colors applying and image of items. Lot 59〝 Sunrise at Shamao Mountain〞is illustrated on the cover of the He intends to divide the composition into pieces instead of realistic describing in order to convey what he thought in the process. Re-painting oil again and again that expresses items are become essential factors to balance the whole composition. He suggests that material, skill and form of paining is less important than sentiment how to convey properly. He pursues that imagination of mind reappear instead of realistic drawings. In this way that made this work become rare and unique.

絢爛鮮明的色彩，奔放熱情的線條，一直是廖繼春作品的魅力所在。早期畫風主要受到後印象派或是外光派的影響，之後由於與日本野獸派畫家梅原龍三郎接觸，使得他的畫風連帶的受到野獸派的影響；晚期則是回歸到台灣鄉土題材； 1947 年舉家遷居台北，寫生對象轉移到北部各個名勝，淡水風光與觀音山遂成為他最為鍾愛的景點，一直到過世前，仍然不斷以此為主題創作。在作品 Lot60〈淡水觀音山〉中，其擅於掌握筆觸與色彩的工夫，躍然紙上。畫面中以紅、藍、綠、黃等鮮豔油彩敷色，筆觸大膽率意，其強烈的視覺效果與明末五彩瓷繪頗有異曲同工之妙。廖氏反覆運用濃豔的彩度及明快之節奏，以表現靈感沐浴在台灣亞熱帶氣候的陽光下、那片充滿歡樂的心境。藝術家從熟悉的淡水遠眺觀音山，以淡藍色與柔美的粉紅色描繪出淡水河面，一艘帆船點綴於河畔；朱紅的建築、錯落的樓房、屋舍使畫面更顯動人愉悅。整體恬靜和諧，使觀者也能感受到這份自在祥和的寧靜之美。

Heroic lines with gorgeous colors is the symbol of LIAO’s painting, he was affected by Post-Impressionism. He acquainted with UMEHARA Ryuzaburo that made his painting style was affected by Fauvism. In 1947, LIAO moved back to Taiwan, sketching most of tourist spots in north of Taiwan, especially Guan-yi Mountain in Dansui is his favorite one. Lot60〝 Guanyin Mountain〞is good at handling strokes and colors that conveys on composition. Heroic strokes with bright colors such as red, blue, green, yellow and so on in contrast with painted Porcelain in Ming Dynasty. LIAO applied to obvious colors and delight rhythm in order to mood of taking a bath under the sunlight of Subtropics climate. LIAO observes Guanyin Mountain from lone distance, describing Dansui River with light blue and pink, with a loaf of ship at the River. Bright red cottages are located across the ground conveys delightful peace.

淡水於咸豐 10 年開為對外通商口岸，之後，便成為一個華洋雜陳、熱鬧繁華的小鎮。洋人居處及洋行地點，大多分布在重建街以西、油車口與公館口之間。 Initiated as a commercial harbor for external trade in 1861, Tanshui became a busy town mingled with both Chinese and Westerner. Foreign residences and companies were located mostly in the area west of Chunghien Street and between Yuchekou and Kungkuankou.

明代五彩瓷瓶

廖繼春 (1902-1976)

LIAO Chi Chun

淡水觀音山

Guanyin Mountain

油彩木板

Oil on board Signed lower right: Chi Chun in Chinese

簽名右下 : 繼春 24×33cm(9×13in.)

NT$ 4,000,000-4,500,000 US$ 137,000-154,000 HK$ 1,060,000-1,190,000

廖繼春 (1902-1976)

LIAO Chi Chun

菊花

Bottle of Chrysan the mums

油彩木板 1952

Oil on board 1952 Signed lower right: Chi Chun in Chinese, dated December, 1952 in Chinese

簽名右下 : 繼春一九五二 . 十二 33.5×23cm(13×9in.)

Literature:

出版《台灣美術全集 4 廖繼春》，藝術家出版社， 1992 年，第 101 頁。

Taiwan Fine Arts Series 4 – LIAO Chi Chun , Artist Publishing Co., 1992, P.101.

NT$ 2,200,000-2,600,000 US$ 75,300-88,900 HK$ 584,000-690,000

收錄於美術全集的作品 Lot61〈菊花〉重視形體並強調光線之明暗，筆觸凝重，色調厚實，畫面明度、彩度雖低，但纖細的輪廓佐以紅白基調，強調花與靜物的美感度，散發出高貴優美之感，廖繼春與夫人皆喜愛花草，故寫生時少不了以花為對象的作品。

Lot 61〝 Bottle of Chrysanthemums〞 emphasized the form and luminance of the composition. Apparent strokes with abundant color-tune, fine outlines with red-white color to convey elegance of the flowers and still life. Flowers are LIAO and his wife’s favorite often appears on LIAO’s paintings.

楊三郎

本場徵集到台灣前輩畫家楊三郎大師的三幅珍貴畫作： Lot62〈日出野柳〉、Lot63〈東北角望龜山〉和 Lot64〈塔山遠眺〉，這三幅均屬於實景寫生。楊三郎畢生追求自然景致的寫實描繪，他的精神內蘊隨著年齡與歷練不同而有所遞嬗，不斷追求自然之美來證明他為藝術所作的努力。作品 Lot62〈日出野柳〉，乃是描繪旭日東升時的海邊風貌，岸礁、村落瓦舍錯落有致，映照出一片橙紅；天光雲彩的奇妙幻化與景物搭配各具特色，和煦、靜謐，筆觸大膽而生動，充分呈現出

(1907-19) YANG San Lang 82

藝術家嫻熟高超的油彩表現功力。 Lot63〈東北角望龜山〉，作畫取景應在日間，地點則靠近漁港碼頭，畫面左側尚可

Allow us to present Taiwanese Master: Yang San Lang to you. Lot 62〝 Sunrise in Yehliu〞, Lot63〝 Northeast Corner of Island〞, Lot 64〝 Overlook Ta Mountain〞. They belong to landscape sketch. Yang took his whole life to pursuit realistic sketch of scenery in Nature, his painting skills practices by ages and experiences that proved his effect in art field. Lot63〝 Northeast Corner of Island〞, 50x60cm, Yang drew it at a dock near the fishing port in daylight. Several fishing boats stopped on the left, two fishermen walked around with leisure under gentle clouds in the sky.

見幾艘漁船停靠，兩名釣客徘徊在碼頭邊觀望，天空雲影中有柔和的淡淡粉紅色調，意境閒適怡人。 Lot64〈塔山遠眺〉，取材主題依然是楊氏所喜愛的自然山景，這幅畫在構圖上的經營頗具巧思，近、中、遠三部分各自呈 V 字型交錯，構成空間上的漸層感，穿過左側近處幾棵筆直杉樹叢的間隙，隨著視線的拉長延伸，加上色彩的運用得宜，讓直逼天際的塔

L o t 6 4 〝 O v e r l o o k Ta M o u n t a i n 〞 , 50x60cm, issue of the painting is landscape which Yang’s favorite. Three parts in composition arrange V-shaped in order to form gradation, observe the blank from left side with the extension of vision, adding proper color, make Ta Mountain become higher and gentler. There is the Plate No.57 in Taiwan Fine Arts Series 7 –YANG San Lang, for us to contrast to Lot 64.

山顯得更高壯、更深遠。《台灣美術全集 7：楊三郎》中，收錄有圖版 57 之同名作品可資參照。

莫內〈厄特黑塔的斷崖及海岸〉 1883 年巴黎奧賽美術館 Monet The Beach and and Cliffs at Teretat , 1883, Cdlected Musée d'Orsay in Paris.

楊三郎 (1907-1995)

YANG San Lang

日出野柳

Sunrise in Yehliu

油彩畫布

Oil on canvas Signed lower left: S. Yang

簽名左下 :S. Yang 50×60cm(20×24in.)

NT$ 1,300,000-1,500,000 US$ 44,500-51,300 HK$ 345,000-398,000

楊三郎 (1907-1995)

YANG San Lang

東北角望龜山

Northeast Corner of Island

油彩畫布

Oil on canvas Signed lower left: S. Yang

簽名左下 : Ｓ .Yang 50×60cm(20×24in.)

NT$ 1,000,000-1,200,000 US$ 34,200-41,100 HK$ 265,000-318,000

楊三郎至東北角卯澳漁村創作 85

楊三郎 (1907-1995)

YANG San Lang

塔山遠眺

Overlook Ta Mountain

油彩畫布

Oil on canvas Signed lower left: S. Yang

簽名左下 :S. Yang 50×60cm(20×24in.)

NT$ 850,000-1,200,000 US$ 29,100-41,100 HK$ 225,000-318,000

廖繼春 (1902-1976)

LIAO Chi Chun

雲海

Plains Cloud

其繽紛強烈的色彩，以及簡潔大膽的筆觸，以

粉彩紙

Pastel on paper Signed lower right: C. LIAO

的飄渺，同時在線條的構成中以游走的方式抹

NT$ 250,000-300,000 US$ 8,550-10,300 HK$ 66,300-79,600

Lot 65〝 Plains Cloud 〞was painted in pastel to express flourishing colorful strokes as well as was contrasted with plains clouds. In addition, the texture of lines shows gradation of plains cloud.

簽名右下 : C. LIAO

作品 Lot65〈雲海〉使用粉彩作為繪畫的媒介，對比的方式使畫面呈現出山脈的粗曠感與雲霧畫出雲海的層次之感。

14×19.5cm(6×8in.)

葉火城 (1908-1993)

YEH Huo Cheng

海景

Ocean View

油彩畫布 1983

Oil on canvas 1983 Signed lower left: Huo Cheng in Chinese, dated 1983

簽名左下 : 火城 1983 53×65.5cm(21×26in.)

NT$ 350,000-450,000 US$ 12,000-15,400 HK$ 92,800-119,000

葉火城 (1908-1993)

YEH Huo Cheng

濤聲

Wave Sound

油彩畫布 1986

Oil on canvas 1986 Signed lower left: Huo Cheng in Chinese, dated 1986

簽名左下 : 火城 1986 45×53cm(18×21in.)

NT$ 240,000-300,000 US$ 8,210-10,300 HK$ 63,700-79,600

林風眠 (1900-1991)

LIN Feng Mian

菊花靜物

Vase of Chrysanthemums

彩墨紙

Ink and color on paper Stamped on lower left: With one seal of the artist

鈐印左下 : 林風眠印 58.5×57cm(24×23in.) 現收藏者於八○年代購自香港中僑國貨公司

Purchased from Chung Kiu Chinese Product Co., Ltd in Hong Kong in 1980s.

NT$ 1,100,000-1,500,000 US$ 37,600-51,300 HK$ 292,000-398,000

林風眠先生是中國近代藝術界的宗師，出生於動亂衝擊的清末民初，中外繪畫的論點紛紛在中國大地交相激盪。林氏融會中西，不拘泥於傳統，亦非急就於現代、一味薄古厚今，他主張要「讓中國繪畫復活，新畫家應該衝破傳統的束縛，轉而以自然現象為基礎、尋求自然顯現的性格、質量和綜合的色彩表現」，這份觀點對於中國現代繪畫的發展深具意義。林風眠先生雖然留學法國學習西畫，但仍能在他的作品中看見中國畫特有之文化意境，聞名現今的畫壇名家趙無極、朱德群、吳冠中均出自於其門下，不愧為 20 世紀影響最深的中國畫家之一。林風眠以對華人藝壇的卓越貢獻，成就了歷久不移的藝術史定位，作品自然成為藏家爭相收購的重點標的，歷來在市場上的表現非凡，景薰樓 2011 秋拍 Lot34 林風眠〈雞冠花靜物〉，成交價即達到台幣 188 萬 8 千元、2005 年秋拍 Lot88 林風眠〈山嶺〉以 2,258 萬高價成交； 2012 年香港蘇富比秋拍，林風眠〈雞冠花〉成交價 1018 萬港幣的傲人佳績。 Lot68〈菊花與靜物〉，畫了一盆繁密盛開、色彩繽紛的菊花，一朵朵淡黃、粉紫、粉紅、藍色、橙色的花瓣錯落綻放，幾乎佈滿整張圖，層次分明，生氣盎然，畫面左下鈐蓋一方「林風眠印」朱文款，此作乃原藏家於上個世紀 80 年代購自香港中僑國貨公司。類似構圖的盆花寫生尚有數例，較集中出現於 1960 年前後，如《中國近現代名家畫集：林風眠》中所收錄之圖版 76〈秋菊〉、圖版 97〈菖蘭〉、圖版 107〈雞冠花〉、圖版 111〈繡球花〉、圖版 113〈大理花〉等作品，風格相近，可供比對。

Lin is the Master of Chinese Modern Painting in art field. He’s born in Late Qing Dynasty and early Republic of China, in unsettled social environment, painting skills of Chinese Culture and Western Culture are agitated by Lin in China. Lin’s skills are inclusive of customs within Eastern and Western culture, neither constraints of traditional customs, nor having bias in modern painting. He insists that we should make Chinese paintings rebirth. New painters should break traditional shackles in order to express manifestation of nature-based, searching for specific personality, character and multiple color. Lin’s viewpoint has significant meaning in the development of Chinese Modern Paintings. Lin went abroad for studies in France, but specific images of Chinese Culture are conveyed in Lin’s works. Well-known painters such as ZAO WouKi, Chu Thechun, Wu guanzhong are taught by Lin makes Lin become deep-influenced Master of Chinese painting in the world. Lin’s remarkable effort made him achieve prominent orientation in art field. Lin’s works, through breaking new record in auctions all the time, are earned collectors’ spotlight. Lot 68 LIN Feng Mian〝 Vase of Chrysanthemums〞, 58.5x57cm, drawing a vase of blossoming and marvelous Chrysanthemums. Chrysanthemums in light yellow, light purple, blue and orange are formed the composition of whole painting. Its texture shows unlimitedly vitality, with one seal of the artist on lower left of the painting. The former collector bought this painting from Chung Kiu Chinese Product Co., Ltd in 1980s. The composition of vase-flower style are similar to Lot 68 appears mainly around 1960’s, such as Plate 76 〈 Chrysanthemum in Autumn〉, Plate 97〈 gladiola〉, Plate 107 〈 cockscombs〉, Plate 111〈 hydrangea〉, Plate 113〈 Dahlia.〉in Selection of Chinese Modern Paintings: LIN Feng Mian.

黃永玉

HUANG Yong Yu

江山萬里情

Extraordinary Scenery

彩墨紙本 1984

Ink and color on paper 1984 Entiled upper left: Extraordinary Scenery, dated Spring of 1984, Huang Yong Yu in Chinese, with four seals of the artist.

鈐印左下 : 林風眠印題字左上 : 江山萬里情甲子年春黃永玉畫 , 鈐印四枚 86×177cm(35x72in.)

NT$ 260,000-400,000 US$ 8,890-13,700 HK$ 69,000-106,000

陳蔭羆 (1919-1995) 字形之變複合媒材畫布 1970 年代簽名右下 : GEO. CHANN 137×132cm(54×52in.) 附藝術家家屬 Janet Chann 親自簽名保證書

George CHANN Transform Mixed media on canvas 1970s Signed lower right: GEO. CHANN With a certificate of authenticity signed by the artist's daughter

NT$ 2,300,000-2,800,000 US$ 78,700-95,800 HK$ 610,000-743,000

陳蔭羆先生是現代抽象繪畫界知名畫家之一，早期創作以中下階層的孩童等充滿溫情關懷之社會寫實畫為主，惜未獲得熱烈迴響。1950 年代起，西方繪畫界興起一股抽象表現主義風潮，這對於陳氏日後創作風格的轉型影響頗深，繪畫手法自此翻轉，彷彿歷經浴火重生般的蛻變，讓世人目光為之一驚。陳氏對於甲骨文、碑帖、篆隸行草等書體的鑽研應具有一定程度，藝評家每敘及陳蔭羆抽象時期之畫作時，總會論述陳氏作品凝練了東方古老的的文字符號於其中，為畫面鋪陳了更為深奧的內心觀感，也試圖體現出他在抽象繪領域中的獨特性。本件作品 Lot72 〈字形之變〉，很典型的反映出陳蔭羆作品中內在的含蓄與沉靜，色系也由較早的黑白轉化為彩繪，多次塗抹書寫與斑駁點染成為整幅畫面的基底，反覆堆疊、肌理厚實且富有視覺層次。此作附有家屬親筆簽名之保證書。陳氏的畫作近年來在國際市場上表現亮眼，如景薰樓 2012 年春季拍賣 Lot60〈抽象系列 537〉，成交價台幣 389 萬 4 千元。本次秋拍作品〈字形之變〉，交織著古雅與現代淬鍊的意象，創作者無拘無束的變化繁衍，值得藏家細細品味。

George CHANN is one of Moder n Abstract Expressionist, who focuses realism of underclass people in the society, didn’t make him become f a m o u s . S i n c e 1 9 5 0 ’s , a t re n d o f A b s t r a c t Expressionism had raised, it has caused deep influence on CHANN. His painting skills overturned sharply, the same as rebirth from the ashes, surprised us completely. CHANN is addicted to the abstract language of ancient Chinese oracle-bone, bronze and stone inscriptions as well as cursive, clerical and seal scripts. When it comes to CHANN by art critics, his abstract artworks are full of Eastern ancient signs within each painting, in order to survey deeper perception from heart. His paintings are composed of points, lines and wriggling forms that are unbounded and kinetic. Lot 72〝 Transform〞, 137 x 132 cm, which reflects his painting based in black and white color schemes of earlier times turned into squirming forms. It comes with a certificate of authenticity signed by the artist's daughter. CHANN’s work are seen in auctions such as JSL Spring Auction Lot 60〝 Abstract Series 537〞, its hammer price reached NTD 3,894,000. Lot 72 〝 Transform〞,expressing unfettered evolution, which intersects images of classic and modern ones. It’s worth cherishing by each collector.

沈哲哉 (b.1926) 凝視

SHEN Che Tsai Gaze Oil on canvas 1997

油彩畫布 1997

Signed lower left: dated 1997,

簽名左下 : 1997 哲哉

Che Tsai in Chinese

53.5×46cm(21×18in.)

NT$ 350,000-400,000 US$ 12,000-13,700 HK$ 92,800-106,000

陳蔭羆 (1919-1995) 女人像油彩畫布

George CHANN Lady's Portrait Oil on canvas Signed lower left: GEO. CHANN

簽名左下 : GEO. CHANN 76.8×61cm(31×25in.)

NT$ 150,000-220,000 US$ 5,130-7,530 HK$ 39,800-58,400

丁雄泉

繽紛大師採花大盜

(1929-2010)

Walasse TING

1929 年丁雄泉出生於中國無錫商人之家，不

愛女人，也擅長畫女人，藉由粗獷的構圖與細

久舉家遷往上海。4 歲時即能隨性塗鴉，10 歲

膩的筆觸之間，展現女人的韻味。在他畫中讓

時便能在街邊矮牆創作，繪畫的過程令他非常

觀者進入一個無限想像的空間，每個觀者都可

喜悅。後來一度進入上海美專學習，渾然天成

以與畫者進行溝通，發展出各種體現於觀者與

的繪畫才情，以及熱愛自由的心性，實在無法

畫者之間的感覺，且往往給人巨大的視覺衝擊。

適應學院教育的拘束，1946 年獨自前往香港， Lot75〈裸女與貓〉的作品中，裸女伸展優雅的放棄了正統美術訓練，但他一心想出去闖蕩，姿勢合著溫柔的貓，營造醉人的美麗氛圍，鮮隨後 1952 年前往法國巴黎，開啟寬廣的藝術

豔的色彩與無瑕的人體，讓人格外感到怦然心

視野。1958 年再轉赴美國紐約，他採用大膽

動。以艷麗的色彩及大膽的造型表達並結合東

潑灑技巧與西方文化的交滲，逐步篩融出他作

方性的線條是丁雄泉畫作中重要的元素。佈局

品中繽紛色感的雛型，受到抽象表現主義的影

及用色相當簡單純粹，把愛情的甜蜜歡愉詮釋

響，逐漸形成燦爛非凡的獨特繪畫風格。2001

的絲絲入扣。

年自 2010 年定居於荷蘭阿姆斯特丹。作品為

在 Lot76〈五美宴花圖〉與 Lot77〈七美圖〉作

各大博物館收藏，包括美國大都會美術館，及

品中，丁雄泉以中國仕女的姿態，展現眼神柔

古根漢美術館等。

媚欲語還休的氣質，各是千嬌百媚，律動的體

繪畫作品充滿了繽紛多彩的花草與美女，視覺

態綽約多姿，寫意地歌頌女人的嬌、媚、情，

語言強烈而鮮明。丁雄泉下筆如揮刀，繪畫展

瀟灑暢快的筆觸以及恣意大膽的色彩表現出東

現飛揚且意外的衝擊力，豐沛的情感隱含東方

方女性的萬種風情，搭配可愛嬌媚的鸚鵡以及

情懷且富有爆發力，以墨線勾勒人物伴隨色彩

迷人的花朵，呈現濃烈的東方態勢與趣味性，

斑斕豔麗的花卉。

也樹立了丁氏獨立於主流畫風之外的特殊風

丁雄泉的作品裡使用較大面積的色塊當作基底，並且巧妙的運用噴灑技法交織彩繪出獨特

格。

的畫作，丁雄泉的作品裡充分融入了西方眼鏡

膽將東方水墨精神融於西方藝術創作，橫跨國

蛇派的狂野色彩，他利用東方水墨的潑彩技法

界的藩籬，風靡了全世界愛好藝術的藏家們，

丁雄泉以豪放熱情、不拘成俗的創作性格，大

成為他獨特的繪畫風格，並且充分利用紅色、為華人的藝術史上增添了一筆華麗絢爛的丁氏黃色、藍色和綠色的特性，在他藝術創作過程

色彩。

中多見女人，花草，貓與鸚鵡為題材，丁雄泉

TING was born in China in 1929 and moved to Shanghai. He sketched causally from he was 4, he drew pictures on lower walls at 10 that made TING delight. He studied Shanghai Training School of Fine Arts, he didn’t finish his studying because of his gift for paintings. He went to Hong Kong instead of his studying in 1946, then to Paris in France to broaden his vision in 1952. In addition, his stay in New York in USA, he adopted bold splashing skills combining with Western Culture that made he found his own style in flourishing. With affection of Expressionism formed an unique painting style. TING’s artworks are collected by well-known museums such as The Metropolitan of Art and The Guggenheim Museum. TING’s work are full of flourishing flowers, animals and naked figures which contrast color tune. His gorgeous strokes express striking powers, with abundant oriental sentiment, such as ink lines of figures with plentiful flowers. TING uses large-range color blocks with spraying skill in texture. His works combining CoBrA in Western Culture by bolding color 98

tones with splashing in Eastern Culture to form unique painting style. Naked women, flowers, cats and parrots are often shown on his works. TING conveys women’s elegance by rough composition and tiny strokes. Gigantic shock of TING’s works makes people to enter unlimited imagination, everyone can communicated with the painter. Lot75〝 A Nude Figure with the Cat〞 expresses naked woman’s posture with gentle cat to create comfortable atmosphere, with flourishing color and perfect figure that makes people to feel beckoning. Significant factors such as flourishing color, bold gestures combining oriental lines, simple but pure in texture to interpret passion within lovers. Lot76〝 Five Beauties with Flowers〞and Lot 77〝 Seven Beauties〞convey Chinese ladies are flirtatious and amorous. Charming and rhythmic postures are to praise characters of oriental women. With vivid parrots and flowers to set up unique painting style under mainstream in art field.

「我假想明天要死，今天我把一切我所喜愛的事情，歡喜吃的、歡喜愛的，都真誠去吃、去愛，去畫心中想出來的圖畫，果然明天死掉了，也沒有甚麼遺恨難過，明天不死，再來一次。這樣你更能發揮出你的潛意識的能力及生命更燦爛似艷陽天」。向熱情不朽的丁雄泉大師致敬節錄〈 1973 年 1 月 12 日丁雄泉家書〉 / 上海「龍門雅集」2012 年出版《 Kiss me,Kiss me！ RED MOUTH SERIES1 1973 ～1977》，第 33 頁。

丁雄泉 (1929-2010)

Walasse TING

五美宴花圖

Five Beauties with Flowers

壓克力水彩紙裱於畫布

Acrylic and watercolor on paper is mounted on canvas

鈐印五枚 : 採花大盜

Stamped : With five seal of the artist

NT$ 3,800,000-4,500,000 US$ 130,000-154,000 HK$ 1,010,000-1,190,000

122×246cm(48×96.8in.)

101

丁雄泉 (1929-2010)

Walasse TING

丁雄泉 (1929-2010)

Walasse TING

七美圖

Seven Beauties

裸女與貓

A Nude Figure with the Cat

水彩紙

watercolor on paper

壓克力水彩紙裱於畫布

Acrylic and watercolor on paper is mounted on canvas

鈐印右上及左中: 採花大盜

Stamped upper right and left: With two seals of the artist

鈐印右上 : 採花大盜

Stamped upper right: With one seal of the artist

36×48cm(14×19in.)

104

60×90cm(24×35in.)

NT$ 300,000-450,000 US$ 10,300-15,400 HK$ 79,600-119,000

NT$ 900,000-1,200,000 US$ 30,800-41,100 HK$ 239,000-318,000

忻海洲 (b.1966)

XIN Hai Zhou

女孩

Teenager

壓克力炭筆畫布 1999

Acylic and charcoal on canvas 1999

簽名下方 : Xin Hai Zhou 1999-5

Signed lower: Xin Han Zhou, dated May in 1999

130×80cm(51×31in.)

NT$ 550,000-650,000 US$ 18,800-22,200 HK$ 146,000-172,000 105

巴斯天特輯

比利時畫壇名師

藝術播種者－巴斯天和他的時代中國二十世紀初期美術出現中西融合、雜揉並陳，藝術界呈現一片繁榮之景，其中到國外學習的留學生占有相當大的影響力，這些留學生將當時西方流行的寫實主義風格以及思想帶回中國，而巴斯天則是當時頗具盛名的現代寫實主義畫家，也是吳作人、呂霞光、張充仁、周圭、沙耆五位留學生的老師，並對之後的中國藝壇具有相當的影響。

“ 徐悲鴻教給我速寫，巴斯天教給我油畫。” －吳作人

LOTS 79-91 巴斯天 ( 右一 )

巴斯天 Alfred Bastien

20th Century contemporary combining Western and Chinese culture, overseas students play an important role in bringing Realism into China. BASTIEN has great influence on the Chinese senior artists, including WU Zuo Ren, LU Xiang Guang, ZHANG Chong Ren and SHA Chi, had great influence on art field in China. XU Bei Hong taught me how to sketch as well as Alfred BASTIEN taught me how to paint by oil. from WU Zuo Ren’s quotation

攝於比利時皇家美術學院，藝術家及其他油畫高級班學生，皆師從油畫家巴斯天教授 The students of oil painting faculty and their professor, Alfred Bastien. This photo was taken in I'Académie Royale de Beaux-Arts.

106

人生歷程巴斯天出生於 1873 年，為比利時籍的藝術家、學者亦是一

BASTIEN was born in 1873, he studied to draw animals

位士兵。早年進入 Ghent 學院學習，師從 Jam．Delville，而

and still life under Jam Delvill and J. Praels. BASTIEN got

後轉 J．Praels 學習動物以及靜物畫。1897 年贏得 Godecharle

scholarship of Godecharle Foundation to study in LES

基金會獎學金而得以進入巴黎藝術學院深造； 1898 年替勃根

ETABLISSEMENTS PUBLICS NATIONAUX (PARIS). He took a

第的藍特那城堡 (Lantenay Castle) 創作大型壁畫。1905 年至

trip and stayed in Congo. During WWI, he volunteered to

1908 年足跡遍及東方各地，並在剛果停留且作畫，1913 年

be a soldier, that’s why military topics appears on his works.

創作〈剛果全景圖〉。當第一次世界大戰時，巴斯天基於愛

Alfred BASTIEN was a Belgian artist, academic and soldier.

國之心，投筆從戎、自願參戰，因此在畫作之中場可見士兵、

He won the Prix Godecharle in 1897 which helped him he

馬匹、死亡等戰爭相關題材； 1914 年與其他畫家合作完成

enroll in the Ecole des Beaux- Artsin Paris. After that, Bastien

〈 1914-1918 伊瑟河全景〉； 1927 年任比利時布魯塞爾皇家

enrolled in the Académie Royale des Beaux-Arts in Brussels

美術學院教授，而後三度擔任藝術學院院長。

in 1927. He served as director three times in these years. He created panorama murals for Lantenay Castle in Burgundy.

巴斯天戶外寫生 ( 左一 ) 107

藝術生涯，輝煌成就巴斯天的老師 Jam．Delville 亦畢業於 Ghent 學院，之後受邀成為藝術團體「 Les XX」的第十三個會員，Les XX 是由律師、出版商、企業家以及藝術家所組成的社團，多年來致力藝術、文學、音樂的推廣，多年來受邀的藝術家包括畢羅沙、莫內、高更、梵谷等人，Jam．Delville 在該社團草創初期即成為中堅社員，可見其藝壇地位； 1902 年 Jam．Delville 便開始於 Ghent 學院任教，成為巴斯天的老師。各界對於巴斯天的繪畫風格眾說紛紜，布魯塞爾古代藝術博物館記載：巴斯天是一位寫實主義者，將眼睛所見之物，運用厚塗的油彩，寬闊的筆觸與和諧的色彩作畫，並加入個人情感，讓畫作的不僅呈現最真實的樣貌又不失人性。其中〈騎馬肖像〉和〈花籃與水果盤〉等的作品在 1934、1935 年間曾巡迴展出於上海與南京「比利時現代繪畫展」，此一展覽被國外藝術史家看作「 20 世紀前期在華舉行的最大規模歐洲畫展」。

108

Jam．Delville, BASTIEN’s teacher, after his graduation, was invited No. thirteen member of Les XX, which compose fo lawyers, publishers, Entrepreneurs and artists to promote Art, Literature and Music. Camille Pissarro, Claude Monet, Paul Gauguin, Vincent Willem van Gogh are invited by Les XX. After he taught in Ghent University, he became BASTIEN’s teacher. Quotation from Royal Museums of Fine Arts of Belgium that BASTIEN, realistic artist, adopting thick oil, tiny strokes and harmony color with personal sentiment in order to convey real appearance and sentiment.The "Horse Riding Portrait" and" Flowers and Fruit Bowl" and other works had been exhibited in series of "the Belgian Modern Painting Exhibition" in Shanghai and Nanjing during 1934 and 1935. "The Belgian Modern Painting Exhibition” is seen as the largest European exhibition by the foreign art historians in China in the early 20th century.

諄諄教誨，得意門生當時在比利時留學的中國留學生中，吳作人、呂霞光、張充仁、周圭、沙耆成為巴斯天的學生，其中吳作人與沙耆更受到巴斯天的諄諄教誨，領悟法蘭德斯畫派（ Flanders）的精髓，多以農村、田園等鄉村風光作為創作的題材。吳作人 (1908-1997) 出生於江南蘇州，祖父為當地有名的花鳥畫家，透過祖父所遺留下來的畫具、顏料，吳作人從小就對繪畫產生高度的興趣； 1926 年進入蘇州工業專科學系建築系，開始接受西式的美術教育； 1927 年進入上海藝術大學美術系，結識了日後對他影響極深的徐悲鴻先生。1930 年，因為徐悲鴻先生的鼓勵至巴黎留學，次年，吳作人進入了巴斯天教授的工作室。入學二年級即在全院的油畫大會考終獲得金獎及桂冠生的榮耀，且在歐洲留學期間，也鍛鍊了吳作人敏銳的觀察力，以及紮實的基礎繪畫功力，將中、西二方之優點皆融入在其濃烈且飽滿的色彩之中。沙耆 (1914-2005) 浙江鄞縣人，原名沙引年，又名賢菖，字吉留；從小在父親的影響下，接觸了大量的中國傳統文化及藝術，1937 年經徐悲鴻的推薦，前赴比利時國立皇家美術學院深，在巴斯天的指導之下，潛心學畫，並對歐洲傳統繪畫進行系統性的研究，其後則多次在華底格地 (Petie Galerie) 美術館舉辦個人畫展，1942 年作品被比利時皇后收藏，成為家喻戶曉的畫家。

Overseas students such as WU Zuo Ren, LU Xiang Guang, ZHANG Chong Ren and SHA Chi are included. WU Zuo Ren and SHA Chi learned from Flanders that are used to paint from villages and countries. WU Zuo Ren was born in Suzhou, his grandfather, an artist, his painting tools affected WU’s interest. In 1927, he majored Shanghai Fine Arts University and acquainted with XI Bei Hong. Because of his advice, WU went to Paris and worked at Pro. BASTIEN’s studio. When he was sophomore, he won Golden Prize and Laurel Prize at the competition of oil painting in University. During his day in Europe, his observation and foundation of painting skills are trained a lot, advantages of Western and Eastern Culture are melted in his works. SHA Chi was born in Zhejiang, he learned Chinese traditional culture because of his father. Due to Xi’s advise, he went to study in the Royal Academy of Fine Arts in Belgium, under BASTIEN’s conduction, he did the research about traditional painting in Europe. SHA’s solo exhibition is held in Petie Galerie. SHA’s painting is collected by Queen of Belgium that made him become famous.

109

〝徐悲鴻教給我速寫巴斯天教

巴斯天與吳作人等人合照

給我油畫〞—吳作人

影響後世，獨樹一格吳作人及沙耆對中國藝壇承先啟後、中西交流具有高度的影響力，其師巴斯天的繪畫功力更是深厚，Lot87〈康沃爾暖陽〉，畫面中的森林一片寂靜，唯有將西沉的太陽，垂掛在畫面中央；時間雖已向晚，但作品仍保持著色彩的純淨，讓觀者感受到鄉村田園的閒適之感，而這也是巴斯天所擅長的風格；在 Lot89〈農家庭院〉以及 Lot91〈比利時農莊〉中，也可以發現巴斯天運用厚塗且簡潔的筆觸以及色彩光影對比，刻畫出農村富有生命力的田野風光，無論是田邊的公雞或是小木屋旁的湖光山色，在巴斯天的作品了都顯得如此自在且合宜。而在第一次世界大戰時期，巴斯天為了國家，進而投筆從戎，而這段時間的經歷，也可以從巴斯天的畫作中，略探一二； Lot84a~b〈 Bateau/Marines〉、Lot85a~b〈 Cour de larenal de Namur/Le cavalier〉、Lot86a~b〈 Marines/Cavalier〉為巴斯天的手稿素描，從這些素描題材中，可以看出巴斯天對於馬匹曾深入研究，手稿裡多是馬匹肌理、骨骼的習作，而這段時間也讓巴斯天對於戰爭、死亡有多一層的思考，在 Lot83a 〈 Le mort〉中有幅名為死亡的素描習作，從作品中的婦人潰坐在病床前，散發出令人絕望之感，也不禁讓人深思戰爭的意義。 2011 年景薰樓春季拍賣 Lot21〈靜物與魚〉、Lot22〈水果與花的靜物〉與 Lot23〈生蠔與白酒〉皆以高於預估價的四倍拍出，在台灣的藝術拍賣市場上，驚艷眾人目光。 110

With WU Zuo Ren and SHA Chi’s affection to the world, BASTIEM, their teacher, had deeper Realization than WU Zuo Ren and SHA Chi. Lot 87〝 Evening of Cornwall〞conveys peace with the setting sun on the middle of paintings, with clean of color blocks in order to leisure of farm. Lot89〝 Farmyard〞and Lot91〝 Farm in Belgium〞shows thick but simply strokes, contrasting to light in order to convey features of farm not only rooster on the farm also view beside the wooden house. During WWII, experience of his volunteered to army are appeared in Lot84a~b〝 a. Bateau/Marines〞,Lot85a~b 〝 Cour de larenal de Namur/Le cavalier〞、Lot86a~b 〝 Marines/Cavalier〞. Those sketch works shows that BASTIEN did the research about horse. There’re many sketches about vein and structure of horses that make him think deeper about death. Such as Lot83a〝 Le mort〞, title in English means death, there is an old lady sit on the bed, conveying hopelessness that made him think over the meaning of war. In our spring auction of 2011, Lot21 “Still Life and Fish”, Lot22 “Still Life – Fruit and Flowers” and lot23 “Oyster and White Wine” were sold with a price four times higher than estimation. First appeared in Taiwan Art Market, his artworks immediately drew collectors’ attention.

(1873-1955) 巴斯天 (1873-1995)

Alfred BASTIEN

居室休憩

Leisure in Living Room

油彩畫布

Oil on canvas

簽名右下 : A Bastien

Signed lower right: A Bastien

50×40cm(20×16in.) Private Collection in Europe 歐洲私人收藏

NT$ 150,000-200,000 US$ 5,130-6,840 HK$ 39,800-53,100

111

(1873-1955) 巴斯天 (1873-1995)

Alfred BASTIEN

花與水果

Still Life with Flower

油彩木板

Oil on board

簽名右下 : A. BASTIN

Signed lower right: A. BASTIN

50×65cm(19.7×25.6in.) Private Collection in Europe 歐洲私人收藏

NT$ 80,000-150,000 US$ 2,740-5,130 HK$ 21,200-39,800

112

(1873-1955) 巴斯天 (1873-1995)

Alfred BASTIEN

營養的早餐

Tableau HST-Still Life with Eggs

油彩畫布

Oil on canvas

簽名左下 : A. Bastien

Signed lower left: A. Bastien

50×65cm(19.7×25.6in.) Private Collection in Europe 歐洲私人收藏

NT$ 120,000-180,000 US$ 4,110-6,160 HK$ 31,800-47,700

113

(1873-1955) 巴斯天 (1873-1995)

Alfred BASTIEN

芭蕾舞者

The danser

油彩畫布

Oil on canvas

簽名右下 : A. Bastien

Signed lower right: A.Bastien

90×71cm(35.4×17.8in.) Private Collection in Europe 歐洲私人收藏

NT$ 260,000-350,000 US$ 8,890-12,000 HK$ 69,000-92,800

114

83α~b

巴斯天 (1873-1955) (1873-1995) ( 兩件一組 )

a.Le mort 炭筆紙 11×13cm(4.3×5.1in.)

b.Etude 炭筆紙簽名右下 : a.B

83α

17×25cm(6.6×9.8in.) 歐洲私人收藏

Alfred BASTIEN

(A Set of Two Pieces)

a.The death

Charcoal pencil on paper

b.Study Charcoal pencil on paper Signed lower right: a.B

NT$ 30,000-45,000 US$ 1,030-1,540 HK$ 7,960-11,900

83b

84α~b

(1873-1955) 巴斯天 (1873-1995) ( 兩件一組 )

a.Bateau 炭筆紙簽名右下 : a.Bastien 14.5×17.5cm(5.7×6.8in.)

b.Marines

84α

炭筆紙 24×34cm(9.4×13.3in.) 歐洲私人收藏

Alfred BASTIEN

(A Set of Two Pieces)

a.Boats Charcoal pencil on paper Signed lower right: a. Bastien

b.Navy Charcoal pencil on paper Private Collection in Europe

NT$ 30,000-45,000 US$ 1,030-1,540 HK$ 7,960-11,900

84b 115

85a~b

巴斯天 (1873-1995) ( 兩件一組 )

a. Cour de larenal de Namur 炭筆紙簽名左上 : Cour de larenal de Namur 14.5×23cm(5.7×9in.)

b. Le Cavalier 85α

炭筆紙 10×12cm(4×5in.) 歐洲私人收藏

Alfred BASTIEN

(A Set of Two Pieces)

a. Court of the arsenal of Namur Charcoal pencil on paper Signed upper left: Court of the arsenal of Namur, a.B

b. Trooper Charcoal pencil on paper Private Collection in Europe

85b

NT$ 30,000-45,000 US$ 1,030-1,540 HK$ 7,960-11,900

86a~b

(1873-1955) 巴斯天 (1873-1995) ( 兩件一組 )

a. Marines 炭筆紙簽名右下 : a.B 27×16cm(11×6in.) 86a

b. Cavalier 炭筆紙簽名右下 : alfred Bastien 簽名左下 : 1923 20×25cm(8×10in.) 歐洲私人收藏

Alfred BASTIEN

(A Set of Two Pieces)

a. Navy Charcoal pencil on paper Signed lower right: a.B 86b

b. The Rider Charcoal pencil on paper Signed lower right: alfred Bestien Signed lower left: 1923

116

Private Collection in Europe

NT$ 30,000-45,000 US$ 1,030-1,540 HK$ 7,960-11,900

(1873-1955) 巴斯天 (1873-1995)

Alfred BASTIEN

康沃爾暖陽

Evening of Cornwall

油彩畫布 1934

Oil on canvas 1934 Signed on the reverse: Soir en Cornouailles, Alfred BASTIEN, dated 1934, SALON De Printernps, 1934.

簽名左下 : Alfred BASTIEN 簽名畫背 : Soir en Cornouailles, Alfred BASTIEN, 1934, SALON De Printernps, 1934. 110×168cm(43.3×26.8in.)

Private Collection in Europe

歐洲私人收藏

NT$ 750,000-1,100,000 US$ 25,700-37,600 HK$ 199,000-292,000

117

巴斯天 (1873-1955) (1873-1995) 森林裡的水塘油彩畫布 1919 簽名左下 : A. BASTIN 簽名畫背 : Erang Rougc Cloilre Decembre 1919 Alfred Bastien

Alfred BASTIEN Pond in Forest Oil on canvas 1919 Signed lower left: A. BASTIN Signed on the reverse: Erang Rouge Cloilre Decembre, dated1919 Alfred Bastien

80×100cm(31.5×39.4in.)

NT$ 350,000-500,000 US$ 12,000-17,100 HK$ 92,800-133,000

118

(1873-1955) 巴斯天 (1873-1995)

Alfred BASTIEN

農家庭院

Farmyard

油彩木板

Oil on board Signed lower right： A.Bastin Private Collection in Europe

簽名右下 : Alfred BASTIEN 46×46cm(18.1×18.1in.) 歐洲私人收藏

NT$ 60,000-100,000 US$ 2,050-3,420 HK$ 15,900-26,500

119

(1873-1955) 巴斯天 (1873-1995)

Alfred BASTIEN

Sonian 森林

The Sonian Forest

油彩木板 1873

Oil on board 1873 Signed lower left: A. bastien Signed on the reverse: Alfred BASTIEN, (Elseue 1873, ukkel, 1995) Olie on bord: The Sonian Forest

53×37cm(20.9×14.6in.) 簽名左下： A. bastien 簽名畫背： Alfred BASTIEN, (Elseue 1873, ukkel, 1995)Olie on bord:The Sonian Forest 歐洲私人收藏

120

Private Collection in Europe

NT$ 80,000-150,000 US$ 2,740-5,130 HK$ 21,200-39,800

(1873-1955) 巴斯天 (1873-1995)

比利時農莊油彩畫布簽名左下： A.Bastin 44×25.5cm(17.3×10in.) 歐洲私人收藏

Alfred BASTIEN Farm in Belgium Oil on canvas Signed lower left： A.Bastin Private Collection in Europe

NT$ 80,000-120,000 US$ 2,740-4,110 HK$ 21,200-31,800

121

趙無極 (b.1921)

ZAO Wou Ki

抽象

Abstract

水彩紙 1975

Watercolor on paper 1975 Signed lower right: Wou Ki in Chinese, and ZAO, dated 1975

簽名右下 : 無極 ZAO 75 22×57cm(9×23in.)

Purchased in Europe in 1980s 現收藏者 80 年代購自歐洲

NT$ 1,200,000-1,800,000 US$ 41,100-61,600 HK$ 318,000-477,000 122

123

趙無極伉儷 1986

關於趙無極，世人讚揚他能打破地域觀念，成功的融合東

此外，Lot92〈抽象〉、Lot94〈巴黎的天空〉，也是趙無極

西方兩種不同的文化背景，並將之用現代的抽象藝術手法

相當精彩的兩張水彩創作。Lot 92〈抽象〉，紫色、藍色、

表現出來，也是第一個將中國傳統美術帶入世界畫壇的畫

紅色、黑色、綠色 …，隨興所至點染勾抹，在趙無極神奇

家。他自己也曾表示：「如果說我的整個藝術修養中有無可

之筆下恣意揮灑，形成一片片跳耀騰閃的色彩，畫面之中

否認的中國影響，我也必須說明，我的真正人格，隨著重

有沉定、有悸動，意識悠遊洪荒，復歸於推崇者眼中只可

新發現中國而晉於成熟 …」。趙氏演繹著他心中所認定之中

意會的人間之美！

國意象，因為獲得這個時代的熱烈迴響，得以站上世界舞台，無疑是十分成功的創作風格！

Lot94〈巴黎的天空〉，尺寸 22×27cm，趙氏於 1948 年旅居巴黎，探索藝術創作。而該作則完成於 1954 年，這一時

關於繪畫，他說：「要看的是空間，空間的伸展、扭轉，

期正當趙氏逐漸轉求全然抽象表達的醞釀過程。畫中塗染

我常在心裡揣摩的是：如何畫風？要怎樣表現空白？表現

青紫二色，並藉由勾畫細線、不經意的幾塊織物印紋、外

光的純淨、明朗？」，一如本場拍品 Lot93〈 19.09.85〉，作

圍幾道刷筆，融入形象簡化之表現符號。敷色淺澈澄明、

者以開放式的布局展現構圖上的大氣磅薄，運用色彩的暈

不落俗媚，影射出昔日對巴黎記憶的陳跡，他試圖把對外

染、滴灑、流散，結合書法靈動飛快的筆觸效果，揭示畫

界的觀察內化，以凝煉的線條、筆法與色塊，描繪出心靈

面中幽玄邈邃的光彩變幻，明與暗、濃和淡的對比及過渡，

中那片恬靜的物外詩境，是一件淡雅悅目的宜人小品。

如此和諧自然，讓平面的畫布上出現了空間感與歲月感，就像把天地間的一角，裁貼於畫布之上。而雲、光、水、

趙無極畫作近年在藝術市場之成交價屢屢衝破記錄，國

風和觀者的意念，依然隱隱流動，畫中的時間也正進行著，

際行情已站上億元台幣身價，深受近現代藝術藏家所熱

讓我們感受到的不單只是作者情感的宣洩，更是心靈的交會，這確實是當代其他畫家所難以企及的境界。北宋范寬有幅家喻戶曉的名畫〈谿山行旅圖〉，現藏台北故宮博物院，乃傳統山水畫中的典範，歷經皇家庋藏。若與此對比，千仞石壁之下，瀑流激盪，水霧迷濛，山石屹立不動，溪泉則奔流萬里，動靜虛實、明暗高低間蘊含著天地間之無窮生機。趙無極此作寓東方美學於油彩間的畫境，透達古今，恰如〈谿山行旅圖〉所營造出的崇美格局，令人神往。

124

愛，例如景薰樓拍賣公司 2011 年春拍中，Lot94 趙無極〈 31.8.68〉成交價為台幣 6 千四百餘萬元，表現驚人。

Lot93 趙無極〈 19.09.85〉局部

When it comes to ZAO, he is the one who broke continent boundaries that combines Eastern and Western Culture to convey his idea with abstract way, the first painter brings Chinese traditional art into the world. ZAO mentioned that Chinese art in me certainly, I need to say that my real personality became mature with recovering China. Chinese image in ZAO’s Style is cheered to the echo over the world.

北宋范寬〈谿山行旅圖〉台北國立故宮博物院典藏

Lot 92〝 Abstract〞splashing strokes with colors to form rhythmic texture, always appears peace of conscious on it. Lot 94〝 Sky in Paris〞, when ZAO’s stay in Paris to explore creation, it is finished in 1954 that means the process of totally abstract expressing. Symbolization such as lines, veins of knitting with light blue and light purple reflects memory in Paris in the past. ZAO internalized observation by lines, strokes, blocks in order to convey the peace in his mind.

ZAO thinks art should focus on extension and rotation of space, I always ask myself that how to draw, how to convey empty, how to express pure of light? Lot 93〝 19.09.85〞, ZAO expresses color-gradation technique, dribble, combining calligraphy stroke to form mystery of light in composition. Contrast bright and dark, strong and light shows harmony so that appearing scene in nature moved on the canvas. Clouds, light, water, wind with artist’s imagination flows the same as time flying. We not only feel his intention also encounter souls that made ZAO became unique. Fan Kuan "travelers among mountains and streams" is collected by National Palace Museum, which is paragon of Chinese traditional landscape painting. Contrast it with Lot 93, ZAO pouring the spirit of Chinese traditional landscape into texture of oil paintings that creates unique people want to achieve.

125

趙無極 (b.1921)

ZAO Wou Ki

19.09.85

油彩畫布 1985

Oil on canvas 1985 Signed lower right: Wou Ki in Chinese, and ZAO

簽名右下 : 無極 ZAO 95×105cm(37×41in.) 附藝術家親自簽名保證書 126

With a certificate of authenticity signed by the artist

NT$ 38,000,000-48,000,000 US$ 1,300,000-1,640,000 HK$ 10,100,000-12,700,000

127

趙無極 (b.1921)

ZAO Wou Ki

巴黎的天空

Sky in Paris

水粉彩紙 1954

Gouache on paper 1954 Signed lower right: Wou Ki in Chinese, and ZAO, dated 1954

簽名右下 : 無極 ZAO 54 22×27cm(8.7×10.6 in.)

NT$ 800,000-1,200,000 US$ 27,400-41,100 HK$ 199,000-318,000

128

趙無極 (b.1921)

蘭花水彩抽象畫全球限量彩繪瓷盤

ZAO Wou Ki

水彩瓷 1986

Limited Orchid Porcelain

簽名 : 無極 ZAO 86 盤徑 25cm(9.8in.)

Watercolor on porcelain 1986 Signed on the back: Wou Ki in Chinese, and ZAO, dated 1986

附趙無極為紀念 BSN 所繪製瓷盤的作品卡

With a Letter of certificate

簽名背後 : 請見右下方縮圖

註：此作品為趙無極 1986 年為慶祝 BSN( 曾是法國玻璃及食品王國 )，成立二十週年所繪製限量抽象蘭花瓷盤。

NT$ 80,000-120,000 US$ 2,740-4,110 HK$ 21,200-31,800

趙無極為紀念 BSN 所繪製瓷盤的作品卡

瓷盤背面為法國最知名的陶瓷工作室 l' atelier ségriès 製作署款資料及 BSN 慶祝企業二十週年紀念賀詞

劉國松 (b.1932)

LIU Guo Song

山巔系列

Mountain Top Series

釉彩瓷板 2000

Enamel on porcelain 2000 Signed lower right: Liu Guo Song in Chinese, dated 2000

簽名右下 : 劉國松二ＯＯＯ 27x70cm(11x29in.)

NT$ 450,000-600,000 US$ 15,400-20,500 HK$ 119,000-159,000 129

林壽宇

台灣極簡派藝術的先驅者

Richard LIN (1930-2011)

“ 美術就是要做其他藝術都達不到的形式，那是一種絕對的邏輯 ” —林壽宇林壽宇先生，是台灣知名望族「霧峰林家」的後代，

Richard LIN is the pioneer of Minimalism in Taiwan, who’s

1933 年出生於鄉里景仰稱羨的官宅「霧峰宮保第」，對那

descendants of Lin’s Household in Wufong. He was born in Lin’s

段豪門之內的童年生活，他曾感慨的以清末遜帝「小溥儀」

Mansion, was treated like Puyi of Qing Dynasty. Childhood in

作譬喻，這或許也是多數林家子孫畢生引以為耀的一幕家

Lin’s Household let every descendant feel proud in whole life.

族榮光。林家富甲一方，宅第內蓋有私人豪華戲台，自小

There’s private opera stage in it, that made LIN had deeper

受京劇耳濡目染，養成了他對於傳統藝術的喜愛，年輕時

favorite in traditional art.

對於戲曲唱腔、身段頗具造詣，晚年仍不忘此道。

Wealthy condition made LIN had more chance to go abroad for

優渥的生活環境使得林壽宇比起其他人擁有更多親近藝術

studying art. When he finished his study in junior high school,

和出洋學習的資源條件。1952 年建國初中畢業後，經香

he went to England. Studying architecture and fine arts at

港轉赴英國，白天於「倫敦綜合工藝學院」研讀建築，夜

Regent Street Polytechnic in London on day-time, he became

間則致力修習工藝和美術； 1957 年起成為專業畫家，並

a full-time painter in 1957 and was a teacher in Royal college

曾在英國皇家藝術學院等幾所學校任職，1958 年起受到美

of Art in UK. LIN was inspired by union exhibition of Mark

國畫家羅斯科（ Mark Rothko）、克萊恩（ Fraze Kline）、帕

Rothko, Fraze Kline, Jackson Pollock and Rober Motherwell. He

洛克（ Jackson Pollock）、馬哲威爾（ Robert Motherwell）等

abandoned college-style knowledge, combining Piet Mondrian’s

人抽象畫聯展的啟發，自此拋開學院式的觀念侷限，日後

way to create. He discovered to use horizon lines, simple

更參照了荷蘭畫家蒙德里安（ Piet Mondrian）的創作方式，

geometric cubes to convey his idea without content or form of

對完全排除藝術的客觀形象與內容，以水平線、簡單的幾

art. LIN was invited to Kassel Documenta in Germany made him

何方塊來表達意念的手法，欽慕有加，畫風也自此轉型。

become well-known.

1964 年受邀參加德國文件大展，藝術成就揚名國際。

LIN back to Taiwan in 1980s and introduce Minimalism, Tsong

林壽宇於 1980 年代返台，並將低限和極簡藝術引進台灣，

Pu, Chen Hui-Chiao, Lai Tsun-Tsun and Hu Kun-Jung was affect

時下抽象藝術界的主流人物如莊普、陳慧嶠、賴純純、胡

by LIN. He is used to combining white color, lines and cubes

坤榮等，都曾受其影響。

in order to imagine profound changes within plans instead of

他喜歡運用調性最廣的白色，及線條和方塊作組合，打破

breaking old fashion. Joan Miró (1893-1983) travels to London

視覺規範，想像成是平面與平面間交錯的奧妙空間變化，

to visit Lin's studio and expresses enormous admiration for Lin's

虛實相間，任人臆想，據傳畫家米羅亦曾讚譽林壽宇：「在

white series. Miró says, "Lin is unmatched in the world of white

白色的天地裡，沒人能比的上你 !」

color."

1982 年林壽宇在台北龍門畫廊舉辦「白色系列」個展，造

LIN said that white color is the most ordinary but greatest one,

成話題，也引發了台灣藝術界的關注； 1983 年台北故宮

empty but abundant one, loftiest but common one, the most

博物院首次破例收藏的現代藝品就是他的〈繪畫浮雕雙聯

gentle but the most grieved one. No matter what there’s new

作〉。1984 年春之藝廊的展覽活動結束後，他便宣示封筆

art style appears, but LIN’s Minimalism is unique.

不再作畫，選擇消聲沉寂，創作之路卻並未中止，改以從

Lin's first solo exhibition at the Lung Men Art Gallery displays

事雕塑和裝置藝術，生活雖較為低調，與台北藝文界友人

over 20 of his works from his "White Space" series. Lin's exhibit

依然保持聯繫。

triggers enthusiastic discussion in Taiwan's painting circle about

2000 年台灣發生 921 大地震，中部地區受創嚴重，身為

the Western styles of geometric abstraction and minimalism.

霧峰景薰樓的一份子，基於家族情感，林壽宇便常回到家

The National Palace Museum's management committee decides

鄉陪伴年邁母親，享受天倫之樂，2002 年林壽宇遷回台

to acquire Lin's “Painting Relief Diptych” for its collection,

中定居，並於 2009 年在學學文創舉行個展重新復出。翌

which becomes the first work of a living artist to be included

年，高雄市立美術館更擴大舉辦「向大師致敬：一即一切，

in the museum's collection as well as the first contemporary

林壽宇五十創作展」，展出他半世紀以來一百一十七件作

piece of artwork for its collection. LIN holds a solo exhibition

品。

“No Beginning No End – Existence and Variation Series” at the

2011 年 12 月 31 日，被奉為台灣極簡主義宗師的林壽宇先

Spring Gall, after that, he focused on sculpture and Installation

生病逝，享壽七十九。他的藝術史定位將隨著作品，永遠

art, keeping in touch with his friends in art field.

令世人懷念。

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林壽宇 (1933-2011)

Richard LIN

1962 年 3 月 3 日

March 3rd, 1962

壓克力油彩畫布 1962

Acrylic and oil on canvas 1962 Signed on the reverse: LIN SHOW YU PAINTING RELIFE MARCH,dated 1962

簽名畫背 : LIN SHOW YU PAINTING RELIFE MARCH 1962 127×91.5cm(50×36in.)

NT$ 750,000-1200,000 US$ 25,700-41,100 HK$ 199,000-31,800 131

蘇笑柏旅居德國二十年的歲月裡，他經歷過西方文化的洗禮，學會以新的觀察角度認識周遭的事物，重新了解繪畫材料間的互動關係，進而對中國傳統文化有了更深的體會與依戀。嚴謹的畫面形式與極富表現力的色彩相結合，創作出充滿細微多變且飽含著深情與智慧的作品。然而蘇笑柏在近三年作品的表現上，也出現微妙的變化；收起了銳利，透過時間的移轉推移與自省，尋求心靈的解放，慢慢磨出自在與圓潤，運用的色彩則更為純粹，更顯敦厚。本次秋拍 Lot98 〈藍色系列之几案〉於 1999 年繪製而成，從畫面中可以發現中國文人教育對蘇笑柏的影響，傳統中國家具在純化的藍色構圖中，映照出深層而不可言說的精神性與純粹美學，傳統家具既是文人雅士的意象湧現，並具有東方秘密的風情；蘇笑柏早年學過工藝，而工匠在中國傳統中一直是倍受歧視，但那些被隱藏的無名者，卻也在藝術史上創造出傲人的成績，蘇笑柏將工藝品融入至創作之中，雋永深藍的畫面裡飄盪著深白色的几案，兩旁的燭臺彷彿是在弔唁著盡心工藝的無名匠師，散發著淡淡惆悵之感，也傳達出藝術家對主流文化的批判與深刻思考，撩人窺探，不言可喻。

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During Su’s 20 years in Germany, under trend of Western Culture, he learned to observe items around daily lives with new viewpoints. Refresh the connection among materials of painting in order to convey deeper understanding and sentiment. Combine strict patterns with contrast colors to express abundant feelings from his paintings. Some subtle difference in conveying new content of his paintings in 3 years lately, he intended to focus on introspective ego with time in order to research truly freedom in his mind. A new painting style by applying colors with leisure, gentle and meaningful. Lot 98〝 Blue Series of Desk〞is finished in 1999,Chinese education affected SU that traditional Chinese-style table reflects condition of spiriting and adoring. Chinese-style table is a symbol of educated people with specific meaning. In Su’s earlier time, he studied craft which is regarded as be belittle. Craftsmanship in old time, anonymous craftsmen, achieved marvelous records. Su put craftsmanship into his works, wooden-table swing on the whole green sea. Candlesticks are memorized for those anonymous craftsmen with deeper sorrow. It is also shown deeper thought of some artists who confronted mainly trend at that time.

蘇笑柏 (b.1949)

SU Xiao Bai

藍色系列之几案

Blue Series of Desk

油彩畫布 1999

Oil on canvas 1999 Signed lower right: Xiao Bai

簽名右下 :Xiao Bai 85×75cm(33.5×29.5in.)

NT$ 11,00,000-1300,000 US$ 37,600-44,500 HK$ 292,000-345,000 133

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100

作品 L o t 1 0 0 〈楓葉之美〉，尺寸 32×41cm，作者透過楓葉秋紅象徵季節時序的轉替，加上畫面中天景雲彩與楓林遍野間光線的協調運用，巧妙

100

李梅樹 (1902-1983)

LI Mei Shu

楓葉之美

View of Maple Leaves

油彩畫布 1930

Oil on canvas 1930 Signed lower: mei shu

簽名右下 : mei shu 32×41cm(13×16in.) 附藝術家家屬李景暘先生親簽原畫真跡保證書

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的捕捉光陰幻化的瞬間。李氏對於描繪林野秋色景致的作品不少，如可參見《台灣美術全集 5：李梅樹》中所收錄圖版 92〈璀璨的楓紅〉、圖版 98〈楓紅〉、圖版 107〈日光初秋〉、圖版 116〈秋色〉等作品。

With a certificate of authenticity signed by the artist's son

NT$ 480,000-700,000 US$ 16,400-23,900 HK$ 127,000-186,000

Lot 100〝 View of Maple Leaves〞, 32x41cm, which symbols conversion of seasons by red maple leaves,with sunlight between clouds and maple trees, conveys each moment of conversion. Works of landscape in autumn are illustrated such as Plate No.92, No.98, No.107, No.166 in Taiwan Fine Arts Series 5 –LI MeiShu.

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陳銀輝 (b.1931)

CHEN Yin Hui

東清灣 ( 一 ) 蘭嶼

Bay of Lanyu

水彩紙 1976

Watercolor on paper 1976 Signed lower left: Y. Chen, dated 1976, with one seal of the artist

簽名左下 : Y. Chen76 鈐印左下 : 陳 37×45cm(14.6×17.8in.)

NT$ 160,000-200,000 US$ 5,470-6,840 HK$ 42,400-53,100

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102

黃銘昌 (b.1952) 南島之戀油彩畫布 2009 簽名右側 : 黃銘昌 Huang m. c. '09 132×200cm(52×79in.)

展覽「黃銘昌，一方心田」，台北市立美術館，2012 年。

出版《黃銘昌，一方心田》，台北市立美術館，2012 年，第 114-115 頁。

HUANG Ming Chang Southern Island Romance Oil on canvas 2009 Signed right side: Huang Ming Chang in Chinese and English, dated 2009

Exhibition: “A Field in the Heart-Huang Ming-Chang”,Taipei Fine Arts Museum, 2012.

Literature: A Field in the Heart-Huang Ming-Chang ,Taipei Fine Arts Museum, 2012, P.114-115.

NT$ 2,600,000-3,500,000 US$ 88,900-120,000 HK$ 690,000-928,000

〈南島之戀〉是黃銘昌「海看」系列裡最為複雜的構圖與取景。藝術家展現驚人的耐力與毅力，試圖去描繪他對南國風情的繾綣與愛戀，畫面每一寸草葉跳躍著活潑的光點而充滿著強韌的生命力。整張畫作氣勢磅礡，令觀者為之動容。

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â&#x20AC;&#x153;Southern Island Romanceâ&#x20AC;? is the most elaborate composition in Sea View Series. Huang conveys fabulous patience for Austronesia. Every straw in the art shines spotlight and is filled with emphatic exploration of life. This art expressing the imposing style helps people sense its power.

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103

胡善餘 (1909-1993)

HU Shan Yu

靜物

Still Life

油彩畫布 1984

Oil on canvas 1984 Signed lower left: Shan Yu in Chinese, dated 1984

簽名左下 : 善餘 84 年 36.5×45.5cm(14×18in.)

Purchased from the artist 購自畫家本人

NT$ 350,000-450,000 US$ 12,000-15,400 HK$ 92,800-119,000

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洪瑞麟 (1912-1996) 礦工水彩紙 1951 鈐印左下 : 洪 1951 21.5×25cm(8×10in.)

HUNG Jui Lin Miners Watercolor on paper 1951 Stamped on lower left: With one seal of the artist, dated 1951

NT$ 70,000-100,000 US$ 2,390-3,420 HK$ 18,600-26,500

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105

張萬傳 (1909-2003) 有餘 ( 魚 ) 粉彩紙板 1972 簽名右下 : 1972 CHANG. 万 . 36×25.5cm(14×10in.) 附漢相藝術中心原作保證書

CHANG Wan Chuan Harvest Pastel on board 1972 Signed lower right: dated 1972, Chang and Wan in simplified Chinese With a certificate of authenticity issued by Han-Siang Gallery

NT$ 140,000-160,000 US$ 4,790-5,470 HK$ 37,100-42,400

105

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106

李自健 (b.1954)

LI Zi Jian

早春

Early Spring

油彩畫布 1994

Oil on canvas 1994 Signed lower right: Lizijian and zijian in Chinese, dated 1994

簽名右下 : Lizijian 自健 1994 96.5×124 cm(38×49in.)

Exhibition: 展覽「人性與愛：李自健油畫國際巡迴展」，台灣省立美術館， 1995。

出版《人性與愛：李自健油畫國際巡迴展》，台灣省立美術館，

“HUMANITY AND LOVE:LI ZI JIAN INTERNATIONAL TOURING EXHIBITION”,Taiwan Museum of Art, 1995.

Literature: HUMANITY AND LOVE:LI ZI JIAN INTERNATIONAL TOURING EXHIBITION ,Taiwan Museum of Art,1995, P.103-104.

1995 年，第 103-104 頁。

NT$ 2,800,000-3,300,000 US$ 958,000-113,000 HK$ 743,000-875,000

人性與愛的攀寫者李自健，1954 年出生於湖南省邵陽市，1972 年首次參加湖

Lot106〈早春〉，畫中一位樣貌天真可愛的幼兒正坐在土牆

南省美展。1978 年考入廣州美術學院油畫系，1982 年畢業。

邊下，細心的父母還在地上鋪了塊舊藍布。小孩身後伏著一

1986 年成為中國美術家協會會員，1988 年赴美國麻省藝術

條溫馴土狗，忠心的守護者小主人，幾隻剛孵化不久的小

學院研讀研究所。1992 年成立個人工作室，翌年於台灣高

雞，好奇的圍繞在身邊觀望。掛在樹上的曬衣繩，晾著縫過

雄佛光山、台北市立美術館舉行油畫大型個展，1994 年起

補丁的花布紅被單、鞋子及圍巾，好一派早春時分農家後院

舉辦「人性與愛 ‧ 李自健油畫國際巡迴展」，赴世界各大都

的韻致。

市展出。

此作〈早春〉1996 至 1997 年間，曾熱心出借參與台灣、馬

李氏擅長以寫實的表現手法摹寫鄉土景致與常民生活，其作

來西亞、新加坡、泰國、澳大利亞、南非、巴西紐約聯合

品總能精準地傳達出畫作人物的內在情感。時空、動作、神

國總部、美國、加拿大、香港等地舉行之「人性與愛」李自

態彷彿在瞬間凝止，而畫中的陽光和空氣還是緩緩流動著，

健油畫環球巡迴展，並由作家本人出具紀念狀以致感謝。

引領著觀賞者的感官很自然地融入畫中場景。李自健的作品是有溫度的，幾乎每一幅畫都帶著溫暖，畫中的人或牲畜讓你感覺都是活的！

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107

連建興 (b.1962)

LIEN Chien Hsing

夢土

Dreamland

油彩畫布 1994

Oil on canvas 1994 Signed lower left: Lien Chien hsing in Chinese, dated 1994 Signed on the reverse: dated 1994, Jan., Lian Chien Hsing in Chinese, Dreamland

簽名左下 : 連建興 1994 簽名畫背 :1994.1 連建興夢土 66×91cm(26×36in.)

出版《連建興畫集》，大都會藝術環境， 1997 年，第 58 頁。

Literature: Paintings of LIEN Chien Hsing , Daduhui Art Space, 1997, P.58.

NT$ 280,000-400,000 US$ 9,580-13,700 HK$ 74,300-106,000 144

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連建興 (b.1962)

LIEN Chien hsing

金銀島

Treasure Island

油彩畫布 2006

Oil on canvas 2006 Signed lower left: Lian Chien Hsing in Chinese

簽名左下 : 連建興 90×90cm(35×35in.)

NT$ 300,000-400,000 US$ 10,300-13,700 HK$ 79,600-106,000

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109

潘德海 (b.1956)

PAN De Hai

勞動者三號

Labor No.3

油彩畫布 2006

Oil on canvas 2006 Signed lower left: Pan De Hai in Chinese

簽名左下 : 潘德海 120×150cm(47×59in.) 附奕源莊畫廊原作真跡保證書

With a certificate of authenticity issued by Expol-Sources Gallery

NT$ 850,000-1,200,000 US$ 29,100-41,100 HK$ 225,000-318,000

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潘德海早期以創作「苞米人」造型系列廣為人知，苞米又稱

拍品 Lot109〈勞動者三號〉潘德海將象徵現代社會的兩位胖

玉米，為中國北方主要的糧食作物，而對出生東北吉林的潘

子，放置在 30、40 年代的中國農村場景中，不同的時空背

德海而言，是與自身成長經驗最為貼近的題材，也是奠定他

景交錯之下，產生以古諷今之感；而隱藏在胖子臉上的苞米

作品風格形象的主要部分。而近幾年，潘德海開始思考經濟

圖像，則是藝術家向觀者所提出的質疑：「物質主義導致慾

起飛中的中國社會；詼諧滑稽的胖子開始成為藝術家重要的

望爆炸的現代，是否還保留過去的小農意識和封建餘根？」

視覺元素，從形態來看，這些胖子是物質豐盛且虛有其表的表徵，讓人聯想到現今中國社會裡，對物欲的高度追求。

「胖是當今社會普遍存在的現象，是現代化的成果之一；是城市綜合症最明顯的體現，是今天個體生命隨時存在的問題，具有侵略性、佔有性，是欲望橫流最生動、最形象的特徵。」 —潘德海

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110

俸正杰 (b.1968)

FENG Zheng Jie

中國肖像

Chinese Portrait

油彩畫布 2007

Oil on canvas 2007 Signed lower left: Feng Zheng Jie in Chinese and English

簽名左下 : 俸正杰 Feng Zheng Jie 150×150cm(59×59in.)

NT$ 2,200,000-3,300,000 US$ 75,300-113,000 HK$ 584,000-875,000

（中俸正杰 Lot110〈中國肖像〉，畫中人物圓臉綠髮、八字細眉，鮮紅豐潤的嘴唇則是這個「 China」國）系列中的標記符號，一樣是女性形象、違反生理常態的眼珠外張、似笑非笑的妖異表情，是對該系列作品的第一視覺印象，強烈且鮮豔。作者是屬於大陸中生代的藝術家，在創作的路程上經歷過多重蛻變，由較早期的「解剖」、「寵物」、「浪漫旅程」、「幸福」系列後轉型，讓自己的創作理念更真實的反映出社會現象；關注在暴富社會的衝擊下，物質生活的無節制需求與傳統精神價值的矛盾，讓年輕一代產生了困惑和迷惘。作者已經超越了原先被定位的艷俗體系，成功的用畫作去引發觀賞者對社會現象及商業文化的反思。 148

110

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111

張小濤 (b.1970) 溪山清遠之七油彩麻布 2006 簽名畫背：溪山清遠之七亞麻

張小濤，四川美術學院油畫系畢業，曾在海內外舉辦過多

油彩 150×120cm 張小濤 2006

次個展。如： 2000 年於法國巴黎阿基阿尼基畫廊舉辦「快

年 1 月 2 日 1 時 798 廠

樂時光」畫展； 2000 年美國奧克蘭亞太橋畫廊「虛構的影

150×120cm(59.1×47.2in.)

像」、2004 年「巴黎國際藝術博覽會」、2005 年日本東京

ZHANG Xiao Tao

畫廊「夢工廠和垃圾場」、2005 年「第二屆布拉格雙年展」。

Si Shan Cing Yuan NO. 7 Oil on linen 2006 Signed on the reverse: Si Shan Cing Yuan No.7 in Chinese, oil on linen, 150×120 cm, Zhang Xiao, dated on one of 2nd, Jan.,2006 in 789 Factory

本次拍品 Lot111〈溪山清遠之七〉，出自作者「潰爛的山水」系列，該系列作品〈溪山清遠之五〉曾在景薰樓 2007 年秋拍中以台幣 389 萬 4 千元的佳績成交。張小濤慣以中國畫的線條和積墨造形的方式，來嘗試一種新的油畫語言，本幅作品尺寸 150×120cm，作者運用細膩的紋理和草莓潰爛的氛圍，透過高彩度的顏色，架構出所欲傳達的畫面主題，左下

NT$ 800,000-1,000,000 US$ 27,400-34,200 HK$ 212,000-265,000

150

方空白處有數道色彩自然流淌而下，也似乎為其積貯已久的不安內心找到宣洩，藉以紓發對現實感受的心境轉折，提供觀賞者不同的藝術省視空間。

111 151

112

周碧初 (1903-1995)

CHOU Pi Chu

江南水景

Scene of Jiangnan

油彩畫布

Oil on canvas Signed lower right: Pi Chu in Chinese

簽名右下 : 碧初 39.6×54.3cm(16×21in.)

Purchased in Shanghai in 1980s. 80 年代購自上海

NT$ 450,000-550,000 US$ 15,400-18,800 HK$ 119,000-146,000

152

113

王雲鶴 (b.1939)

WANG Yun He

雷雨過後

After Thunderstorm

油彩畫布 1995

Oil on canvas 1995 Signed lower right: Yun He in Chinese, dated 1995

簽名右下 : 雲鶴九五 60×73cm(23×29in.) 附創藝群原作保證書

出版《王雲鶴精品典藏集Ⅱ 》，創藝群藝術公司，1996 年。

With a certificate of authenticity issued by gallery

Literature: Selection of WANG Yun HeII , Creative Art Co. Ltd, 1996. 塞尚〈緬西橋〉約 1879-80 58x72cm 巴黎

NT$ 400,000-500,000 US$ 13,700-17,100 HK$ 106,000-133,000

奧賽美術館典藏

153

114

姚瑞中 (b.1969)

YAO Jui Chung

如夢令系列 —夢中情人

Dreamy-Dream Lover

設色金箔手工紙 2008

Ink, and gold leaf on hand-made paper 2008 Signed lower left: With one steel seal of the artist, and YAO

簽名左下 : 鋼印 YAO 70×100cm(28×39in.)

Literature: 出版

Romance-YAO Jui Chung , Garden City, 2010, P.143.

《恨纏綿姚瑞中》，田園城市，2010 年，第 143 頁。註 : 臨佚名〈不懷好意〉

154

NT$ 180,000-280,000 US$ 6,160-9,580 HK$ 47,700-74,300

115

姚瑞中 (b.1969) 世外塵系列 —三隻小豬設色金箔手工紙 2008 140×46cm(55×18in.)

出版《恨纏綿姚瑞中》，田園城市，2010 年，第 69 頁。註 : 臨錢選〈盧仝烹茶圖軸〉及顧尊壽〈語石和尚像〉

YAO Jui Chung Dust in the Wind-Three Little Pigs Ink, and gold leaf on hand-made paper 2008

Literature: Romance-YAO Jui Chung , Garden City, 2010, P.69.

NT$ 180,000-280,000 US$ 6,160-9,580 HK$ 47,700-74,300

元代錢選〈盧仝烹茶圖軸〉 155

116

莊喆 (b.1934)

CHUANG Che

抽象

Abstract

油彩畫布 1989

Oil on canvas 1989 Signed lower right: Chuang Che in Chinese

簽名右下 : 莊喆 60×50cm(23×20in.)

156

NT$ 180,000-240,000 US$ 6,160-8,210 HK$ 47,700-63,700

117

黃銘哲 (b.1948)

Michell HWANG

東區女人

Fashion Women in Taipei

油彩畫布 1992

Oil on canvas 1992 Signed lower right: Che in Chinese, dated 1992

簽名右下 : 哲 1992 65.5×53cm(26×21in.)

NT$ 280,000-350,000 US$ 9,580-12,000 HK$ 74,300-92,800 157

118

畢卡索 (1881-1973)

Pablo Picasso

坐著的女子

Woman seated

鉛筆紙

Pencil on paper Stamped on the reverse: With one steel seal of the artist Signed upper left:Picasso

鈐印畫背 : 鋼印簽名左上： Picasso 18.9×14.8cm(7×6in.) 附比利時布魯塞爾畫廊 (Russell Galerie) 證明書

With a certificate of authenticity issued by Russell Gallery Belgium

NT$ 650,000-750,000 US$ 22,200-25,700 HK$ 172,000-199,000 158

畢卡索〈格爾尼卡〉現藏於西班牙蘇菲亞王妃藝術中心 Pablo Ruiz Picasso(1881-1973), “Guernica”, Museo Nacional Centro de Arte Reina Sofía

119

畢卡索 (1881-1973) 雙舞者版畫簽名右下 : Picasso 31×22cm(12.2×8.7in.)

Pablo Picasso Dancers Print Signed lower right: Picasso

NT$ 75,000-90,000 US$ 2,570-3,080 HK$ 19,900-23,900

119

120

米羅 (1893-1983) 線條的律動版畫 (179/250) 1966 簽名右下 : Miro 簽名左下 :179/250 34×50cm(13×20in.)

Joan MIRO Lines in Rhythm Print(179/250) Signed lower right: Miro Signed lower left: 179/250

NT$ 150,000-250,000 US$ 5,130-8,550 HK$ 39,800-66,300

120

159

121

米羅 (1893-1983)

Joan MIRO

與月亮共舞

Dance with the Moon

版畫 (131/150)

Print(131/150) Signed lower right:Miro Signed lower left: 131/150

簽名右下 :Miro 簽名左下 :131/150 91×58.5cm(35.8×22.8in.)

展覽「 Joan Miro Ausstellung」，巴黎 Galerie Maeght， 1978 年。

160

Exhibition: “Exhibition of Miro”, Gallery Maeght in Paris, 1978.

NT$ 250,000-350,000 US$ 8,550-12,000 HK$ 66,300-92,800

122

米羅 (1893-1983)

Joan MIRO

Ausstellung, Galerie Maeght

版畫 (41/75) 1978

Print(41/75) 1978 Signed lower right: Miro Signed lower left: 41/75

簽名右下 : Miro 簽名左下 : 41/75 78x57cm(32x23in.) 附德國 Mensing Galerie 證明書註 : 此幅作品為該畫展的主視覺作品

展覽「 Ausstellung」，巴黎 Galerie Maeght，1978 年。

With a certificate of authenticity issued by Mensing Galerie

Exhibitioin: “Exhibition of Miro”, Gallery Maeght, 1978.

NT$ 280,000-380,000 US$ 9,580-13,000 HK$ 74,300-101,000 161

123

薩爾瓦多．達利 (1904-1989) 大天使版畫 (E.A.) 簽名右下 : Dali 簽名左下 : E.A. 46.5×61cm(18.3×24in.)

Salvador DALI Senior Angel Print(E.A.) Signed lower right: Dali Signed lower left: E.A.

NT$ 150,000-200,000 US$ 5,130-6,840 HK$ 39,800-53,100

123

124

薩爾瓦多．達利 (1904-1989) 市場版畫 (115/300) 簽名右下 : Dali 簽名左下 :115/300 42×58cm(16.5×22.8in.)

Salvador DALI The Market

124

Print(115/300) Signed lower right: Dali Signed lower left: 115/300

NT$ 150,000-200,000 US$ 5,130-6,840 HK$ 39,800-53,100 162

125

薩爾瓦多．達利 (1904-1989) 愛神版畫 (201/250) 簽名下方 : 201/250 Dali 鋼印一枚： Dali 37×28cm(15×11in.)

Salvador DALI Go of Love Print(201/250) Signed lower: 201/250 and Dali, with one steel seal of the artist

NT$ 80,000-120,000 US$ 2,740-4,110 HK$ 21,200-31,800

125

126

薩爾瓦多．達利 (1904-1989) 化石的記憶版畫 (62/200) 簽名右下 : Dail 78x58cm(32x24in.)

Salvador DALI Memory of the Fossil Print(62/200) Signed lower right: Dali

NT$ 150,000-200,000 US$ 5,130-6,840 HK$ 39,800-53,100

126 163

127

薩爾瓦多．達利 (1904-1989) 聖母版畫 (4/50) 簽名右下： Dali 簽名左下： moseum 4/50 55.5×44cm(22×17in.)

Salvador DALI Holy Mother Print(4/50) Signed lower right: Dali Signed lower left: moseum 4/50

NT$ 80,000-120,000 US$ 2,740-4,110 HK$ 21,200-31,800

127

128

薩爾瓦多．達利 (1904-1989) 皇冠上的天使版畫 (163/195) 簽名右下 : Dali 簽名左下 :163/195 41×57cm(16×22in.)

Salvador DALI Angels above the Crown Print(163/195) Signed lower right: Dali Signed lower left: 163/195 128

NT$ 60,000-80,000 US$ 2,050-2,740 HK$ 15,900-21,200 164

傳承蛻變• 美麗新世界日本現當代藝術發展

日本現代藝術的發展受歐洲印象派以降之藝術發展影響甚鉅。明治維新的改革開放，對於日本文化的發展影像重大，各方面均多元蓬勃的發展。日本藝術家遠渡重洋前往前衛藝術發展重鎮─巴黎，學習西方藝術精神與思維，並於博物館中盡情飽覽世界名匠們的作品並進行吸收消化，對其自身藝術語彙發展產生重要啟發，而後藉由成功融匯東西藝術語言，創造自我風格立足於巴黎藝壇的畫家包括藤田嗣治 (Tsuguharu FOUJITA)、白髮一雄 (Kazuo SHIRAGA)、今井俊滿 (Imai TOSHIMITSU) 與平賀敬 (Key HIRAGA)，另外還有日後返回母國持續創作並帶領日本走向藝術強國的畫家如黑田清輝、梅原龍三郎、和田中敦子 (Atsuko TANAKA) 等人。

The development of Japanese modern art is influenced greatly by the European Impressionism. Meiji Restoration of brought reformation to opening up for major development in Japanese culture with all aspects of diversity and flourish. Japanese artists traveled far away to the city where avant-garde art develops, Paris, to learn the spirit of Western art and thinking; moreover, to broaden the view by seeing the world-renowned masters’ works in the Museum, and to develop their own artistic style and successfully integrate Eastern and Western art to create their own style. These artists includes the painter Tsuguharu FOUJITA, Kazuo SHIRAGA, Imai TOSHIMITSU, and Key HIRAGA, in addition to those who returned their homeland, Japan, to continue creating and leading Japan to become a powerful of country of art, for example, Kuroda SEIKI, Umehara RYUUSABUTOU, Yasui SOTARO, and Atsuko TANAKA).

165

由早期旅法歸日的藝術家群所成立的在野美術團體「二科會」，致力於發展當時所謂的「新」西洋畫，在一、二零年代初對日本保守畫壇造成重要衝擊，由梅原龍三郎等人領軍的「野獸派」畫風席捲藝壇，開啟日人對於歐洲現代藝術的新視野。其後，一九五零年代於法國爆發的「非定形藝術風格，迅速蔓延至全歐洲，長年旅居巴黎創作的日本藝術家們也受其理念感召，繪起發展媒材特質的不定形抽象繪畫。此流派也帶起了日本五零年代後的抽象表現畫風，拉寬傳統東洋畫與西洋畫的距離，古典與現代並存的文化特質再再展現出日本島國特性。

The art group set up by a group of artist who returned from France in the early stage committed to the development of the so-called the "new" Western painting, resulting in significant impact on the conservative Japanese art world in the early 1920s. The "Fauvism" style led by Umehara RYUUSABUTOU impacted the art world and opened the Japanese new vision for modern art in Europe. Subsequently, the outbreak of “non-amorphous art style” in the 1950s in France quickly spread to the whole Europe. The Japanese artists who had lived in Paris for a long time was moved by it and painted amorphous abstract painting emphasis on the media characteristics.

而傳承於日本現代藝術的日本當代藝術則具有更多面性的發展，儘管大多數人對於日本風格已有所定見－動漫的、乾淨的、美觀的（卻不像韓國般的裝飾性）－但在這些風格之下的觀念和與表現形式之間的咬合，日本當代藝術的確有極高的完成度，並且多位藝術家顯現出的新的震撼或趣味，仍可說是只有日本藝術家和文化所能產生。近年，日本當代藝術在經過草間彌生 (Kusama Yayoi) 的 obsessive art, 村上隆 (Takashi MURAKAMI) 的 superflat、動漫畫的「宅」、「萌」等風潮、亞洲概念興起，繼 1980 年代後再度受到全球注意。本次春拍，景薰樓特別推出日本重要前輩藝術家作品，如梅原龍三郎版畫作品 Lot130〈富士山〉、石川欽一郎作品 Lot7〈日本神社〉、藤田嗣治版畫作品 Lot34〈金髮女郎〉、今井俊滿作品 Lot135〈女人〉與平賀敬作品 Lot136〈在浴室〉等，另外更結合日本當代大師草間彌生壓克力作品 Lot134〈南瓜〉、奈良美智版畫作品以及日本新生代藝術家六角彩子作品 Lot139〈女孩〉、加藤遼子作品 Lot138〈水銀冰塊〉與松浦浩之版畫作品等精彩創作，讓我們一窺日本現當代藝術發展的脈絡與傳承。

166

Japanese contemporary art which inherited from Japanese modern art has more various development. Although Japanese art has been stereotyped as Animated、Pure and Delicate, the fusion under these differences is appearing and Japanese contemporary art has reached a high level of completeness indeed. Japanese contemporary art after walked through Kusama YAYOI’s “obsessive art”, Murakami TAKASHI’s “ superflat” and Japanese animated “otaku” 、“moe” trend. It starts to grab global attention again. In JSL 2012 Spring Auction, we specially introduce art works of important Japanese artists. The related works includes Ryuzaburo UMEHARA’s“Mt. Fuji“, Kinichiro ISHIKAWA’s “Japanese Shrine”, and Tsuguharu FUJITA’s "Blond Lady ".With the presence of Japanese contemporary art works, Yayoi KUSAMA’s "Pumpkin", " The girl " by Ayako ROKKAKU, " Mercury Ice " by Ryoko KATO, and Hiroyuki MATSUURA ‘s " Blister Collection ", we provide you a glimpse of Japan’s the development and heritage of the Japanese contemporary art.

129

梅原龍三郎 (1888-1986)

UMEHARA Ryuzaburo

風景

Scenery

水彩紙

Watercolor on paper Signed lower: no.29 R. Umehara Stamped lower right: with one steel seal of YAYOI GALLERY Stamped lower left: with one seal of artist

簽名下方： no29 R. Umehara 鋼印右下： YAYOI GALLERY( 東京彌生畫廊 ) 34×18cm(13×7in.) 鈴印左下：龍

NT$ 600,000-800,000 US$ 20,500-27,400 HK$ 159,000-212,000

京都人梅原龍三郎專注於日式油畫的探索，將西方表現主義及野獸主義的形、色主觀奔放風格與日本桃山時代的裝飾性藝術融化，而衍生出色彩鮮艷而線條造形寫意的畫面。梅原慣於戶外寫生，最喜歡寫生的地方是中國的北京及日本鹿兒島的櫻島，生平代表作如〈紫禁城〉、〈雲中天壇〉及〈櫻島〉就是在該兩地寫生所作。他生前曾多次來台灣旅遊寫生，並擔任「台展」的審查委員，故對早期台灣畫壇及畫家頗有影響。 Lot129 梅原龍三郎〈風景〉，受野獸派畫風的影響，用色鮮艷大膽、筆觸率性奔放，藍色、橙色、綠色、白色錯落其間，畫中遠景處有一座高山矗立，雪覆山巔；中、近景則是由於視角的緣故，舖綴的樹叢、屋舍和溪流便顯得密集矮小，卻更襯托出遠山氣勢之宏偉。整幅畫作還用金彩敷底，視覺愈感亮麗繽紛。

UMEHARA Ryuzaburo, born in Kyoto, focuses on exploring Japanese-style Oil Painting. He adopts Expressionism and Fauvism in Western culture to combine Installation art of The Azuchi-Momoyama period to form vivid colors and lines of composition. Umahara is used to sketching outdoors such as Beijing in China and Kogoshima in Japan, his works such as :"Forbidden City ", "Altar in Clouds" and"Sakurajima" . He used to come to Taipei for sketching, in addition, to be one of committee members of Provincial Fine Art Exhibition, had a great influence on painters in earlier time of Taiwan. Lot 129"Scenery"conveys galloping strokes with bright-color in contrast. Abundant colors such as blue, orange, green and white, a mountain stood in the middle with covering snow. Arrange of great vision, brushwood, cottages and brooks become tiny in contrast with the mountain of tremendous momentum, it shows vivid appearance with golden pigment.

129 167

130

梅原龍三郎 (1888-1986) 富士山版畫 (2/275) 1983 鈐印左下：龍簽名左下： 2/275 45.5×32cm(18×13in.)

UMEHARA Ryuzaburo Mt. Fuji Print(2/275) 1983 Stamped lower left: With one seal of the artist Signed lower left: 2/275

NT$ 100,000-200,000 US$ 3,420-6,840 HK$ 26,500-53,100

130

131

梅原龍三郎 (1888-1986) 牡丹版畫 (50/175) 1976 簽名右下： R.U. 簽名左下： 50/175 鈐印左下：龍 49×37cm(19×15in.)

UMEHARA Ryuzaburo Peony Print(50/175) 1976 Signed lower right: R.U. Signed lower left: 50/175 Stamped lower left: With one seal of the artist

131 168

NT$ 200,000-260,000 US$ 6,840-8,890 HK$ 53,100-69,000

132

梅原龍三郎 (1888-1986) 裸婦版畫 (96/125) 鈐印右下 : 龍簽名左下 :96/125 59.5×48cm(23×19in.)

UMEHARA Ryuzaburo Naked Lady Print(96/125) Stamped lower right: With one seal of the artist Signed lower left: 96/125

NT$ 200,000-260,000 US$ 6,840-8,890 HK$ 53,100-69,000

132

133

張宏賓(b.1942) 丁紹光 (b.1939) 孔雀公主版畫 (AP 11/30) 鋼印右下 : 一枚簽名左下 :remarque A.P. 11/30 80×80cm(31×31in.) 附 ART VIVANT 作品保證書

出版《 ZHANG HONG-BIN 畫冊》, ART VIVANT Co., Ltd, 封面及第 4 頁。

TING Shao Kuang ZHANG HONG-BIN Peacock Princess

133

Print(AP 11/30) Signed lower right: With one steel seal Signed lower left: remarque A.P. 11/30 With a certificate of authenticity issued by Art Vivant Co., Ltd

Literature: ZHANG HONG-BIN, ART VIVANT Co., Ltd, Tokyo in Japan, cover and P.4

NT$ 45,000-80,000 US$ 1,540-2,740 HK$ 11,900-21,200

《 ZHANG HONG丁紹光〈孔雀公主〉玻璃蝕刻作品 BIN》封面圖為〈孔雀公主〉

169

134

草間彌生 (b.1929) 南瓜壓克力畫布 1990 畫背簽名： Yayoi Kusama 1990 18×14cm(7.1×5.5in.) 附草間彌生工作室開立之原作登錄卡

Yayoi KUSAMA Pumpkin Acrylic on canvas 1990 Signed on the reverse: Yayoi Kusama, dated 1990 With a certificate of authenticity issued by Yayoi KUSAMA Studio

NT$ 1,100,000-1,300,000 US$ 37,600-44,500 HK$ 292,000-345,000

「我把最高的想像力，放進我的藝術裡。我是前衛藝術家」 ──草間彌生 Yayoi Kusama 草間彌生從去年開始，不僅輪番在巴黎龐畢度中心（ Centre Georges-Pompidou de Paris）及英國泰德美術館（ Tate Modern Museum）盎然綻放，也跨界地與 Louis Vuitton 合作，使她在歐洲的曝光率明顯地增加，藝壇地位再創高峰。草間彌生的創作概括了相當多的藝術派別，其中包含了女權主義、極簡主義、超現實主義、原生藝術（ Art Brut）、普普藝術和抽象表現主義等。從她的作品中可以看到，她企圖呈現的是一種自傳式的、深入心理的、性傾向的內容，但在草間對自己的

Yayoi KUSAMA had exhibition in Centre Georges-Pompidou de Paris and Tate Modern as well as Louis Vuitton made KUSAMA’s exposure rate raises in art field again. Creation of KUSAMA includes Feminism, Minimalism, Surrealism, Art Brut, Pop Art and Expressionism. She intends to convey an autobiographic, psychologic way to content, she described herself as an obsessive artist.

KUSAMA considers lives are made from circle spots and lines that to convey what she saw in this world. By circle spots and lines extend infinitely to break the boundary between 草間認為整個生命皆由圓點及網線所構成，並藉由創作來表 reality and fancy, she hopes people come into chaos of spatial 達她所看到的世界；透過圓點及網線無限的蔓延，破壞真實 cognition. In addition, pumpkins plays a significant topic at 及幻想的藩籬，使觀者漸漸陷入空間認知的錯亂，難以捉摸 her life, each pumpkin has different form and colors. Lot 134 真實或虛幻；而南瓜在草間彌生的人生歷程裡也佔有一定的〝 Pumpkin〞are form by circle spots, famous symbol as we 重要性，因此她創作出來的每個南瓜皆有不同並千變萬化， knew, to understand weak but strong spirit in her soul. 描述中，她僅是一位「精神病藝術家」（ obsessive artist）。

並成為她創作的重要主題；本次秋拍版畫作品 Lot134〈南瓜〉即是由圓點漫佈積疊組成，充滿了她兩個最具象徵性的符號：「原點」和「無限的網」，透過纖細的網線以及無盡的圓點，讓我們多少窺探出草間彌生看似脆弱時而堅強的靈魂。 170

134

171

135

今井俊滿 (1928-2002) 女人壓克力紙本 1999 簽名右下 :Imai 簽名左下 :Tokyo i.e 12 Oct.,1999 75.5×55cm(30×22in.)

Imai TOSHIMITSU A Lady Acrylic on paper 1999 Signed lower right: Imai Signed lower left: Tokyo, dated 12 Oct ,1999

NT$ 260,000-350,000 US$ 8,890-12,000 HK$ 69,000-92,800

135

136

平賀敬 (1936-2000) 在浴室壓克力畫布 1974 簽名右下： Key Hiraga '74 44×32.5cm(17×13in.)

Key HIRAGA Bathroom Acrylic on canvas 1974 Signed lower right: Key Hiraga, dated 1974

136 172

NT$ 150,000-250,000 US$ 5,130-,8550 HK$ 39,800-66,300

137

千住博 (b.1958)

HIROSHI Senju

瀑布

Waterfall

岩彩和紙

Gouache on Japanese paper Signed on the reverse: ウオーターフォール , and Senju in Chinese, with one seal of the artist Stamped lower right: With one seal of the artist

簽名畫背 :ウオーターフォール博鈐印畫背 : 博鈐印右下 : 博 22×15cm(9×6in.)

NT$ 700,000-900,000 US$ 23,900-30,800 HK$ 18,6000-239,000 173

138

加藤遼子 (b.1982)

Ryoko KATO

水銀冰塊

Mercury Ice

壓克力畫布 2005

Acrylic on canvas 2005 Signed lower left: ryoko Kato, dated 2005

簽名左下 : ryoko KATO 2005 110.5×84.5cm(44×33in.)

NT$ 200,000-280,000 US$ 6,840-9,580 HK$ 53,100-74,300 174

139

六角彩子 1982 年出生於日本千葉，2006 年，她榮 139

獲“ Scout Prize”榮譽，一舉成為日本 Geisai 藝術市場上才華橫溢的年輕畫家。她因在大型畫布上進行繪

六角彩子 (b.1982)

Ayako ROKKAKU

女孩

The girl

丹麥、義大利、荷蘭、日本、韓國、斯洛伐克等國

綜合媒材紙板

Mixed media on board Signed lower right: ロッカクアヤコ

畫技巧上已自成一派。她徒手沾上顔料，用手指在紙

簽名右下 :ロッカクアヤコ

畫表演而聲名大噪。自 2007 年開始，她的作品已在家舉行過個展。其畫作技巧與本領皆為自學，並於繪板或畫布上作畫，無需使用鉛筆勾勒出線條。

62×40cm(24×16in.)

NT$ 100,000-200,000 US$ 3,420-6,840 HK$ 26,500-53,100

本次的作品 Lot139〈女孩〉，六角彩子透過其手指在畫面上渲染出豐富的情感，可愛的女孩惹人憐愛，令人目光難以離開。 175

140

松浦浩之 (b.1964)

Hiroyuki MATSUURA

Blister Collection( 八件一組 )

Blister Collection

壓克力畫布版畫 ( 88 版 ) 2007

(A Set of Eight Pieces)

22×22cm(8.7×8.7in.)×8 附日升月鴻畫廊珍藏證書

NT$ 100,000-120,000 US$ 3,420-4,110 HK$ 26,500-31,800

Acrylic on canvas print(ed.88) 2007 With a certificate of authenticity issued by Ever Harvest Art Gallery 141a~b

奈良美智 (b.1959) 宇宙女孩 ( 兩件一組 ) 膠印版畫 (ed.500) 2008 72×52cm(28.3×20.5in.)×2 亞洲私人收藏註：此作品為奈良美智 2008 年在英國 Baltic Centre for Contemporary Art 個展所創作的 500 張限量版畫之一。

Yoshitomo NARA Cosmic Girls (A set of two lithographs) Private collection in Asia Offset Lithographs(ed.500) 2008 Publisher: Baltic Centre for Contemporary Art, Gateshead, UK 141a

176

141b

NT$ 50,000-80,000 US$ 1,710-2,740 HK$ 13,300-21,200

142

草間彌生 (b.1929)

Yayoi KUSAMA

思考的南瓜

Deep Thinking Pumpkin

版畫 (74/120) 1993

Print(74/120) 1993 Signed lower right: Yayoi Kusama Signed lower left: 74/120

簽名右下 :Yayoi Kusama 簽名左下 : 74/120 65×53.5cm(25.6×21.1in.)

NT$ 180,000-250,000 US$ 6,160-8,550 HK$ 47,700-66,300 177

143

草間彌生 (b.1929) 無限的網版畫 (68/100) 2000 簽名右下： Infinity Nets 2000 yayoi kusama 51.5×37cm(20×15in.)

Yayoi KUSAMA Inﬁnity Net Print(68/100) 2000 Signed lower right: Infinity Nets, dated 2000 yayoi kusama

NT$ 120,000-140,000 US$ 4,110-4,790 HK$ 31,800-37,100

143

144

草間彌生 (b.1929) 跳舞的南瓜版畫 (108/120) 2004 簽名下方 :108/120 ﾀﾞﾝスかぼちゃYBL2004 Yayoi Kusama 39.5×56cm(16×23in.)

Yayoi KUSAMA Dancing Pumpkin Print(108/120) 2004 Signed lower: 108/120,ﾀﾞﾝスかぼちゃYBL, 144

dated 2004, Yayoi Kusama

NT$ 160,000-180,000 US$ 5,470-6,160 HK$ 42,400-47,700 178

145

草間彌生 (b.1929) 灰皿版畫 (13/100) 1990 簽名下方 :13/100 灰皿 1990 Yayoi Kusama 45×53cm(18×22in.)

Yayoi KUSAMA Ashtray Print(13/100) 1990 Signed lower: 13/100, Ashtray in Chinese, dated 1990,Yayoi Kusama

NT$ 150,000-220,000 US$ 5,130-7,530 HK$ 39,800-58,400

145

146

伯納德．卡多蘭 (1919-2004) 有葡萄的靜物版畫 (172/175) 簽名右下 : Cathelin 簽名左下 :172/175 70×44.5cm(28×18in.)

Bernard CATHELIN Still Life with Grapes Print(172/175) Signed lower right: Cathelin Signed lower left: 172/175

NT$ 60,000-90,000 US$ 2,050-3,080 HK$ 15,900-23,900

146

179

147

貝納．畢費 (1928-1999) 彈大提琴的小丑石版畫 (42/120) 1968 簽名下方： 42/120 Bernard Buffet 68×47cm(27×19in.)

Bernard BUFFET Clown in Playing a Cello Lithograph(42/120) 1968 Signed lower: 42/120 Bernard Buffet

NT$ 80,000-170,000 US$ 2,740-5,820 HK$ 21,200-45,100

147

148

貝納．畢費 (1928-1999) 書齋版畫 (56/200) 簽名右下： Bernard Buffet 簽名左下： 56/200 72×52cm(29×21in.)

Bernard BUFFET Bookshelves Print(56/200) Signed lower right: Bernard Buffet Signed lower left: 56/200

NT$ 100,000-160,000 US$ 3,420-5,470 HK$ 26,500-42,400

148 180

149

貝納．畢費 (1928-1999) 唐吉軻德與夫人版畫 (56/200) 簽名右下： Bernard Buffet 簽名左下： 56/200 73×52cm(30×21in.)

Bernard BUFFET Mr. and Ms. Don Quixote Print(56/200) Signed lower right: Bernard Buffet

NT$ 100,000-160,000 US$ 3,420-5,470 HK$ 26,500-42,400

149

150

貝納．畢費 (1928-1999) 卡門版畫 (30/275) 簽名右下： Bernard Buffet 簽名左下 :30/275 57×39cm(23×16in.)

Bernard BUFFET Carmen Print(30/275) Signed lower right: Bernard Buffet Signed lower left: 30/275

NT$ 80,000-140,000 US$ 2,740-4,790 HK$ 21,200-37,100

150

181

151

維士巴修 (b.1927) 騎士鉛筆粉彩紙簽名右下： Wein hu ch 55×75cm(22×30in.)

Claude WEISBUCH Knight Pencil and pastel on paper Signed lower right: Wein hu ch

151

NT$ 180,000-260,000 US$ 6,160-8,890 HK$ 47,700-69,000

152

貝納．畢費 (1928-1999) 鬥牛士版畫 (108/150) 簽名右下： Bernard Buffet 簽名左下： 108/150 72×50cm(29×20in.)

Bernard BUFFET Bullﬁghter Print(108/150) Signed lower right: Bernard Buffet Signed lower left: 108/150

NT$ 80,000-160,000 US$ 2,740-5,470 HK$ 21,200-42,400

152 182

153

貝納．畢費 (1928-1999) 蜜蜂版畫 (58/150) 1964 簽名右下： Bernard Buffet 簽名左下： 58/150 49×66.5cm(19×26in.)

Bernard BUFFET The Bee Print(58/150) 1964 Signed lower right: Bernard Buffet Signed lower left: 58/150

NT$ 80,000-170,000 US$ 2,740-5,820 HK$ 21,200-45,100

153

154

費農．雷傑 (1881-1955) 枝頭上的赤鳥版畫 (71/125) 1953 簽名右下： F. Leger 簽名左下： 71/125 45×63.5cm(18×25in.)

Femand LEGER Red Bird on the Tree Print(71/125) 1953 Signed lower right: F. Leger Signed lower left: 71/125

NT$ 120,000-180,000 US$ 4,110-6,160 HK$ 31,800-47,700

154

183

155

趙無極 (b.1921) 銅版畫 (19/99) 1978 簽名右下 : 無極 ZAO 78 39×57cm(16×23in.)

ZAO Wou Ki Aquatint(19/99)1978 Signed lower right: Wou Ki in Chinese, and ZAO, dated 1978

NT$ 240,000-280,000 US$ 8,210-9,580 HK$ 63,700-74,300 155

156

趙無極 (b.1921) 銅版畫 (H.C.) 1968 簽名下方 :H.C. 無極 ZAO 68 52×42cm(20×17in.)

ZAO Wou Ki Abstract Aquatint(H.C.) 1968 Signed lower: H.C. Wou Ki in Chinese and ZAO, dated 1968

156

184

NT$ 240,000-280,000 US$ 8,210-9,580 HK$ 63,700-74,300

157

趙無極 (b.1921) 石版畫 (66/99) 1998 簽名右下 : 無極 ZAO 98 簽名左下 : 66/99 67×47cm(25.2×17.7in.)

ZAO Wou Ki Lithograph Print(66/99) 1998 Signed lower right: Wou Ki in Chinese and ZAO, dated 1998 Signed lower left: 66/99

NT$ 120,000-180,000 US$ 4,110-6,160 HK$ 31,800-47,700

158

趙無極 (b.1921) 銅版畫 (11/120) 1974 簽名右下 : 無極 ZAO 74 簽名左下 : 11/120 63×47cm(25.2×17.7in.)

ZAO Wou Ki Aquatint Print(11/120) 1974 Signed lower right: Wou Ki in Chinese and ZAO, dated 1974

NT$ 200,000-260,000 US$ 6,840-8,890 HK$ 53,100-69,000

157 185

159

朱德群 (b.1920) 版畫 (E.A.) 簽名右下 : CHU THE CHUN 簽名左下 : E.A. 100×73cm(41.8×30in.)

CHU Teh Chun Print(E.A.) Signed lower right: CHU TEH CHUN Signed lower left: E.A.

NT$ 120,000-180,000 US$ 4,110-6,160 HK$ 31,800-47,700

159

160

朱德群 (b.1920) 2000D 石版畫 (E.A.) 簽名右下 : CHU TEH CHUN 簽名左下 : E.A. 80×60cm(31.5×23.6in.)

出版《龍在西方迤邐東還朱德群石版畫》，霍克國際藝術，2002 年，第 30-31 頁

CHU Teh Chun 2000D Lithograph (E.A.) Signed lower right: CHU THE CHUN Signed lower left: E.A. Literature: CHU TEH-CHUN The Graphic Work 20002002 ,Hoke Art,2002, p.30-31

160 186

NT$ 120,000-180,000 US$ 4,110-6,160 HK$ 31,800-47,700

161

林良材 (b.1947) 高爾夫銅雕 2004 簽名後座：良．2004 50×20×13cm(19.7×7.9×5.1 in)

LIN Liang Tsai Golf Bronze 2004 Singed on the back: Lang in Chinese, dated 2004 無底價 No Reserve

161

187

第一節總則

業務規則

一、景薰樓股份有限公司（以下簡稱本公司）執行業務，均依據以下條款及每次拍賣時各拍賣型錄之特別訂定條款。二、本條款所指之金額均以新台幣計算之。本拍賣會以新台幣結算。本公司同意以新台幣以外之其他外幣結算，惟請依當日匯率核實計算折合等值之新台幣。本拍賣會中，提供匯率轉換顯示螢幕供競投者參考。其匯率係依拍賣日前一營業日台灣銀行公告之卅天遠期匯率計算。然而競投仍以新台幣進行。匯率轉換顯示螢幕所示之相關資訊，其準確度可能出現非本公司所能控制之誤差。競投者因依賴匯率轉換顯示螢幕資訊參與競投而導致蒙受任何損失，本公司概不負責。三、競標者之定義（一）喊價行為者皆視為競標者，如以書面通知本公司並經確認者得指定代理人為喊價行為。（二）拍賣官得以低於底價的金額開始拍賣，並有權代賣家以連續競標或以回應其他競標者的競價而競標的方式，繼續競投到底價的金額，拍賣官毋須特別表示其為代替賣家競投。在任何情況下拍賣官不會代表賣家作出等同或高於底價之出價。（三）如準買家以電話參與競投，本公司將盡適當之努力聯絡競投者，使其能以電話參與競投，但在不可抗力情況之下，如未能聯絡，本公司對賣家或任何買家均不負任何責任。（四）競標者應於拍賣開始前填具登記表，並提供身份證明。並經本公司核對身份證明後始得進行喊價。（五）喊價過程若有爭議時，依拍賣主持人之意思解決之，競標者不得異議。四、型錄閱讀未經本公司同意，不得任意轉載型錄圖檔。競標者應於拍賣前詳閱拍賣型錄及第四節有關型錄之規定，自行瞭解並參考其他資訊以判斷拍賣物與型錄說明之差異。五、特定名詞之定義，規定於第卅八條。

第二節買方六、拍賣進行中喊價最高經拍定之競標者稱為買方。七、登記競投未曾於景薰樓競投或託售拍賣品的準買家，須備：（一）個人：政府發出附有相片的身分證明文件（如國民身分證或護照）及現居住址證明（如身分證明文件未有顯示現居住址），可出示公用事業帳單或銀行結單等證明文件。（二）公司：註冊登記證書。（三）財務狀況證明：可為近期銀行結單或銀行開立證明書。登記代表未曾於景薰樓競投或託售拍賣品者為競投者，除須備本身的身分證明文件外，尚須備其所代表競投一方之身分證明文件，以及該方簽發之授權書。準買家須於拍賣開始前至少30分鐘辦理登記手續並索取競投號碼牌。取得號碼牌後請妥善保管並為持該號碼牌所為之行為及所生費用負全部責任。八、買方佣金買方應支付本公司佣金，計算方式如下：（一）拍定價少於或等於新台幣（以下同）貳仟萬元時，為拍定價之18%。（二）拍定價高於新台幣貳仟萬元者，貳仟萬以內之部分為18%，超過貳仟萬元之部份12%計算。（三）買方同意本公司，亦可依第十九條及第二十條之規定向賣方收取佣金。

九、付款方式（一）拍定之買方應立即提供姓名、地址及往來銀行等相關資料予以本公司。但從未與本公司往來者，應於拍賣日前與本公司約定付款及交付拍定物方式。

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（二）除另有約定外，買方應於拍定後七個工作天內付清總價款。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。十、約定付款買方得於拍賣前與本公司另行約定付款條件。十一、給付順序買方給付之任何款項，本公司得自由選擇優先抵充之應付項目，而不受買方及其代理人指示之限制。十二、拍定物之交付買方非於拍賣過程全程結束後並付清應付總價款前，不得請求交付拍賣物。但依第九條規定另行約定付款條件者，得於付清約定之一部份價款，並依中華民國動產擔保交易法登記為附條件買賣後，先取得拍定物之占有，於付清全部價款後取得所有權。登記所需費用由買方自行負擔。十三、拍定物交付之費用（一）拍定物交付所生之費用，由買方負擔。（二）買家應支付景薰樓之所得款項均不包括任何貨物稅或服務稅或其他加值稅（不論是由香港或其他地區所徵收）。如有任何此等稅項適用，買家需依有關法律所規定之稅率及時間繳付此等稅款。凡進口藝術品由買方在台取貨者，買方依規需另繳交『落槌價』之百分之五（加值）營業稅。若拍品係於中華民國境外交付買方，並由景薰樓處理運輸等相關事宜，買方則無需負擔該筆稅費，惟買方若欲於中華民國境外取貨，應於拍賣後三個工作天內通知本公司（上述進口藝術品為目錄內有*符號標示者）。（三）依第八條付款者，買方最遲應在拍定日後七個工作天內取走拍定物，否則應負擔任何本公司所為之搬運、保存及保險費用，不得異議。（四）付運及運送保險：付運所需費用概由買方支付。已購物品將於下述狀況儘快送出：買方繳足該拍賣品之款項全部結清、取得買方之書面付運指示，任何出口認可證以及其他可能需要之許可證或證書。十四、危險負擔拍定物之利益及危險自交付時起均由買方承受，縱本公司應買方之要求代為包裝或處理拍定物亦同。但逾拍定日後七個工作日仍未取走者，自該七個工作日屆滿後其利益及危險亦由買方承受負擔。十五、違約條款違反本節規定者，本公司得以拍賣人或經賣方授權之代理人身份，任意選擇下列一種或數種方法請求賠償：（一）對違約之買方提起賠償訴訟。（二）對違約之買方，解除其於本次或他次拍賣之交易。（三）將原拍定物於公開或非公開之拍賣中，再予出售。再次出售之拍定價，若較原「應付總價款」於扣除已付款部份加上再出售費用後之金額低，其差額應由違約之買方負擔；若再出售之拍定價額較高，則超出部份歸於賣方所有。（四）再次出售前拍定物之搬運、保存及保險，均依本公司選擇之方式處理，其有關費用應由違約之買方負擔。（五）尚未付清之「應付總價款」餘額，應自拍定日後五個工作日屆滿時起至支付日止，按每月2%之利率計息。（六）留置買方於本次或他次拍賣之拍定物，至「應付總價款」付清後才由買方領回。（七）拒絕接受違約之買方或其代理人，於未來拍賣方之喊價，或於接受其喊價前，先取得與本公司約定之

押金。（八）違約之買方若對本公司有任何已到期或未到期之應收拍賣所得，應以之抵償其「應付總價款及其他費用」，不足之部份並對其交由本公司保管之任何物品設定質權。（九）對違約之買方提起賠償訴訟並要求買方賠償該次拍賣會所拍得標地物之落搥價百分之三十違約金及其違約所遭受的一切損失及該次訴訟之全數開支。十六、本公司取得所有權前項情形，買方於拍定日後二十一日內仍未付款者，若本公司願意付款，則拍定物之所有權於本公司將拍賣所得，匯予賣方時取得所有權。 189

十七、拍定物為膺品之處置買方於本公司將拍賣所得匯予賣方前，如認定拍賣物系膺品，得於拍定日後二十一日內，以書面通知本公司，並於發出通知後十四日內將與拍賣時保持同一狀況之拍定物退回本公司，經本公司認定確有買方所述之情形時，買方得解除本件交易，本公司並無條件退還買方已支付之任何款項，然買方不得再請求其他賠償。十八、買方注意事項依中華民國法律所規定，超過百年歷史藝術品，是禁止出口的。本委託單所生之爭議適用中華民國法律，如因而訴訟雙方合意由台灣台中地方法院第一審為管轄院。

第三節賣方十九、權利瑕疵擔保（一）賣方應擔保第三人就買賣標的物，不得對於本公司或買方主張任何權利。（二）拍賣之物若未交由本公司保管者，賣方應保證於買方請求時，立即交付拍定物。（三）賣方不履行前二項義務時，本公司得請求其負債務不履行之責。廿、買方因第十六條之情形而解除本件交易時，賣方應支付本公司已發生之所有相關費用及佣金（包括買方及賣方）。廿一、佣金及費用（一）未能拍出者，應依底價2%計算給付佣金並給付相關費用。（二）拍出者，本公司自「拍定價」中扣除依「規定比率」計算之佣金及相關費用，因未能拍出而私下議價者亦同。（三）本公司雖為賣方之代理人，本公司亦得依第七條向買方收取佣金。廿二、保險（一）本公司對所有受委託拍賣或保管之物皆予以投保，另有約定者，不在此限。（二）保險費用由賣方或委託人負擔，保險金額依本公司對拍賣物之估計定之，但該估計之金額，非本公司保證之拍定價。（三）保險期間至拍賣物交付予買方、買方應付款之到期日（以先屆至者為準），若未能拍出者，至賣方委託人應取回拍賣物之時。（四）保險事故發生時，領得之保險金扣除相關費用後，全數歸於享有所有權之一方。（五）本公司依第一項約定未予保險者，除本公司或其僱用人、代理人故意或重大過失所致之損害外，賣方或委託人應自行負擔危險，若致本公司受有損害者亦應負賠償責任。廿三、撤銷委託（一）（一）賣方委託本公司拍賣後，不得任意撤銷，但經本公司同意者不在此限。（二）撤銷委託者仍應支付底價20%之款項及相關費用予本公司。廿四、撤銷委託（二）（一）賣方委託拍賣後，如有下列原因，本公司得撤銷委託。（1）對拍賣物之歸屬或真實性有懷疑者。（2）對賣方所做之說明或保證之內容有懷疑者。（3）賣方有違反本交易條款內容之情事者。（4）其他合理原因。（二）如依前項第二、三款撤銷委託者，賣方應依前項約定給予底價20%之款項與相關費用予本公司。廿五、交付價款（一）除另有約定外，本公司應於拍定日後第三十五日內，將拍賣所得匯予賣方，但以買方已支付完畢為限，否則應於買方付清應付總價款五個工作日內匯予賣方。（二）可歸責於本公司而延遲者，應加計依月息2%計算之利息付予賣方。廿六、未能拍出之拍賣物（一）拍賣物未能拍出時，賣方應於接到本公司通知後三日內與本公司聯絡，欲取回者，應於通知送達後五日內取回，

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通知後至取回前所發生之相關費用及危險、利益均由賣方負擔。（二）除另有約定外，本公司不再繼續為拍賣物投保。（三）欲繼續拍賣者，另與本公司成立新的委託契約。（四）通知送達後逾三日，尚未與本公司聯絡或逾五日仍未領取者，本公司得以公開拍賣或私下協議方式出售拍賣物，出售價金額不受底價限制，且均應自出售價款中扣除先前積欠之佣金及相關費用後始將餘款匯予賣方。賣方所在不明者，則將前項款項存入以本公司名義開設之銀行帳戶代為保管。（五）任何拍賣品如未能成功拍賣，或不包括在拍賣之內，或因任何理由而撤回拍賣，則在本公司發出通知予賣定要求賣家領回拍賣品之35天內，賣家必須領回拍賣品。任何此等拍賣品如在35天期過後仍未領回，則每天每件將徵收新台幣2000元貯存費，並收取額外費用以購買保險。賣家需在付清所有未付費用後，方可領回拍賣品。

第四節交易條款廿七、除本公司於拍賣前聲明該拍賣物為本公司所有者外，本公司只為賣方拍賣事物之代理人。賣方或買方自身之違約行為，應自負其責，與本公司無關。廿八、本公司有權拒絕任何人進入拍賣場所或參加拍賣。廿九、所有拍賣物皆定有底價，底價由本公司與賣方協議並以書面定之，底價經雙方協議後，非經本公司同意，不得更改。卅、本公司得依買方之請求代買方喊價，但因過失致喊價有誤或未為喊價者，本公司及其僱用人或代理人不負任何責任。本公司如同時受到多人委託代為喊價，而喊價相同者有數人，又皆為最高價者，以本公司最先收到委託書者為拍定人。卅一、本公司之拍賣型錄對拍賣物之圖示、影像、作者、來歷、出處、年代、尺寸、材質、損壞或修復情形及其他相關說明僅供參考，不在本公司保證之範圍。卅二、（一）拍賣物悉依拍賣時之現狀出售，本公司不對拍賣物之種類、性質為任何明示或暗示之保證或負擔任何瑕疵擔保責任。（二）本公司對拍賣物所為之任何陳述或書面，均不得視為保證或擔保，本公司之僱用人或代理人所為者亦同。卅三、本公司不保證買方於買受拍定物後，當然取得其著作權。卅四、未高於前次喊價5%或其他由拍賣主持人決定之比例之喊價，拍賣主持人得拒絕之。卅五、因本交易所生之損害賠償，若請求權人為本公司之僱用人或代理人，本公司得代為全權處理。卅六、本公司依本約所為之通知均以書面為之，如交付郵政機關者，以郵寄後一星期視為送達收信人，但收受日期早於一星期者，以實際收日為送達日。卅七、本公司得對拍賣物拍照或攝影，並隨時使用該圖片或影像，不以此次拍賣為限，賣方所提供者亦同。卅八、未具中華民國國籍之賣方，亦應依中華民國稅法申報所得稅。卅九、名詞定義：（一）「拍賣型錄」：係包含廣告目錄、展示錄影帶、估價、標價及其他有關拍賣物品性質之說明。（二）「拍定價」：指出價最高且拍得物品之價格。（三）「應付總價款」：包含拍定價、佣金之相關費用及依第十四條得請求之損害賠償。（四）「拍賣所得」：係指拍定價扣除應付之佣金，相關費用及其他賣方應付予本公司金額後之餘額。（五）「拍定比率」：於每次拍賣前公佈。四十、本條款所未說明之特殊名詞，其特殊定義將於每次拍賣型錄上說明。四十一、本條款依中華民國法律解釋之，若有未盡事宜，均依中華民國法律定之，本公司與交易之他方因本契約所生之爭訟，合意由台灣台中地方法院第一審管轄法院，其他買賣雙方未涉及本公司之爭訟者，不在此限。四十二、本交易條款以中文版為準。

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JSL International Art Auctions Co., Ltd. Conditions of Business Part I. General Provisions Article 1. Ching Shiun International Auctions Co., Ltd.(hereafter referred to as “the Company” ) carries on business on the following terms and conditions and on such other terms conditions and notices as may be set out of any relevant catalogue in every auction. Article 2. Any dollar amount referred to in these provisions is denominated in New Taiwan Dollars. The sale will finally be settled in New Taiwan Dollar. If any sale is settled in other currencies, it will be calculated in the exchange rate of the day of sale.In auction, the exchange rate shown on the screen is only for referral. The exchange rate of currency is calculated on the day before the auction day. However, the bidding is still conducted by New Taiwan Dollar. The inaccuracy of the exchange rate which shown on the screen can’t be controlled by JSL Auction. We will not take any responsibilities for any error or failure due to the screen information. Article 3. Definitions (1) Every bidder shall be deemed to act as a principal unless there is in force a written acknowledgement by the company that he acts as an agent on behalf of a named principal. (2) The auctioneer must start the bid with the price lower than the reserve price and has rights to bid successively for the seller or respond the other bidders in order to reach the reserve price. However, the auctioneer doesn’t need to indicate that in the auction. Under any circumstances, the auctioneer will not offer the same price or the price higher than the reserve. (3) Bidding The auctioneer accepts bids from those present in the saleroom, from telephone bidders, or in advance of the auction. The Company offers all telephone and absentee bidding services as a convenience to our clients, the Company will do the best to serve our clients but will not be responsible for errors or failures to execute bids. • Telephone bids Prospective buyers may bid by telephone during the course of the auction. Arrangements for this service must be confirmed with the Bid Department at least 24 hours prior to the auction. Telephone bids will be recorded. By bidding on the telephone, prospective purchasers consent to the recording of their conversation. The company will not be responsible for any failure telephone contact in cases of force majeure. • Absentee bids Absentee bids are written instructions from prospective buyers directing to bid on their behalf up to a maximum amount specified for each lot. If identical bids are received from two or more parties, the first bid received will take priority. • Bidder Registration Prospective buyers should register for a numbered bidding paddle at least 30 minutes before the auction. (4) No bidder can make a bid unless the registration form has been filled in by the very person and the identification there of has been verified by the Company. (5) If any disputes happen while bidding, bidders should follow the judgment and decision of the auctioneer. Article 4. Catalogue Illustration The copyright of all images, illustrated and written material relating to a lot is and shall remain at all times. Our property shall not be used by the buyer nor anyone else without our prior written consent. Illustrations in catalogues are for reference only. Buyers should satisfy themselves prior to the sales as to the condition of each lot and should exercise and rely on their own judgments as to whether the lot accords with its description. condition of each lot and should exercise and rely on their own judgments as to whether the lot accords with its description. Article 5. The definition of words and phrases with special meanings appear in Article 37.

Part II. Conditions Concerning Buyers Article 6. The highest bidder at the "hammer price" in auction shall be the buyer. Article 7. Bidder Registration Prospective buyers who have not previously bid or consigned with JSL should bring:

(1) Individuals: government-issued photo identification such (such as national ID card or passport) and, if not shown on the ID documents, the proof of current address, a document as utility bill or bank statement is acceptable. (2) Corporate clients: certificate of incorporation. (3) A financial reference in the form of a recent bank statement or a reference from your bank. Persons who register to bid on behalf of someone who has not previously bid or consigned with JSL should bring identification documents not only for themselves but also for the party on whose behalf they are bidding for, together with a signed letter of authorization from that party. Prospective buyers should register for a numbered bidding paddle at least 30 minutes before the auction. Any liability or fee accured holding the paddle goes to whose name the paddle is registered under. Article 8. The Company is entitled to charge premium from the buyer in accordance with the following terms: (1) The buyer’s premium payable by the buyer of each lot is at the rate of 18% on the first NT$ 20,000,000 of the hammer price (2) The buyer’s premium payable by the buyer of each lot is at the rate of 12% on the amount by which the hammer price exceeds NT$ 20,000,000. (3) The buyer agrees to pay the Commission and Expense prescribed in Article 18 and Article 20. Article 9. Payment: (1) The buyer shall immediately provide the Company with information of personal name, address and relevant bank. The buyer without and prior relation with the Company shall come to an agreement with the Company concerning Payment and Collection of Purchases prior to the auction date. (2) Unless agreed upon, the buyer shall pay of the total amount in 7 working days after the auction. If there is any other extra fees including bank charges and the difference of exchange rate by paying in other foreign currency, the buyer needs to be responsible for this. Article 10. The buyer may otherwise come into a payment agreement with the Company prior to the auction. Article 11 . Any payment by a buyer to the Company may be applied by the Company as any sum due from that buyer to the Company on any account without regard to any direction of the buyer or his agent. Article 12. Delivery of Lots The buyer shall not request for the delivery of the lots purchased unless the auction has concluded and the total price due has been paid in full. The buyer having entered into payment agreement with the Company pursuant lo Article 10, may take the possession of the lots after payment of the agreed partial amount as well as the completion and execution of all documents and forms as required to register the sale as conditional sale under the Chattel Secured Transactions Act of the Republic of China. The ownership of the lot purchased passes to the buyer after the full payment has been paid to the Company. Any fee required for the registration above mentioned shall be borne by the buyer. Article 13. Fees and Expenses of the Delivery of the Lots (1) The buyer shall at his own expense take the delivery of the lots purchased. (2) All sums payable by the buyer to JSL are exclusive of any goods or service tax or other value added tax (whether imposed by Hong Kong or otherwise). If any such tax applies, the buyer shall pay such tax at the rate and time as required by the relevant law. The buyer shall pay value added sales tax in the amount of 5% of the hammer price with respect to imported works of art collected by the buyer in Taiwan. The buyer shall not pay the value added sales tax if collected by the buyer abroad and the buyer shall contact the company within 3 days after the auction for the matter of delivery. (3) In case of payment made in accordance with Article 9, the buyer shall take the delivery of the lot no later than 7 working days after the auction, any removal, insurance, storage and custody fees and expenses attributed to the late delivery shall otherwise be borne by the buyer with no dissent. (4) Dispatch and transit insurance: Purchases will be dispatched as soon as possible upon receipt of full payment for the lots received in cleared funds and receipt of your written dispatch instructions and any export licenses or certificates that may be required. Dispatch will be arranged at the buyer’s expense. Article 14. Risk of Loss

Any interest and loss of the lots purchased shall be borne by the buyer upon the delivery with no exception of the condition when the Company packs or handles with the lots at the request of the buyer. The interest and loss of the lots not delivered 7 days after the auction date shall be borne by the buyer likewise. Article 15. Default or Breach of the Conditions Any violation of the Conditions in Part II happens, the Company, as auctioneer or authorized agent of the seller, shall be entitled to exercise one or more of the following rights and remedies: (1) To proceed against the buyer for damages for breach of the conditions. (2) To rescind the sale of that or any other lots sold to the defaulting buyer at the same or any other auction. (3) To sell the lot by public auction or private sale and the defaulting buyer shall pay to the Company any resulting deficiency in the "total amount due" (after deduction of any partial payment and addition of resale costs) and any surplus shall belong to the seller. (4) Remove, store and insure the lot discretionarily prior to the resale at the expense of the defaulting buyer. (5) To charge interest at a rate of 2% per month on the total amount due to be paid 7 working days after the auction date. (6) To retain that or any other lots sold to the same buyer at the same or any other auction and release it only after payment of the total amount due. (7) To reject any bids made by or on behalf of the defaulting buyer at any future auction or obtain a deposit before accepting any such bid in the future. (8) To apply any proceeds of the sale then due or at any time thereafter becoming due to the defaulting buyer towards the settlement of the total amount due and to exercise a lien on any property of the defaulting buyer which is in the Company's possession for any purpose. (9) To proceed against the buyer, charging the buyer 30% amount of hammer price and all damages caused by breach of the conditions. Article 16. If the buyer fails to pay to the Company the total amount due 21 days after the auction, the buyer and the seller agree that the ownership of the lot shall pass to the Company upon the Company's payment of the sale proceeds to the seller at the Company' discretion. Article 17. Prior to the remittance of the sale proceeds to the seller by the Company the buyer may make a written notice of the forgery of the lot to the Company 21 days after the auction and return to the Company the lot in the same condition as it was at the time of the auction 14 days after the notice. The buyer may rescind the deal after the lot is proved to be a forgery by the Company and any amount paid in respect of the lot will be refunded unconditionally to the buyer accordingly. The buyer is not entitled to make any other claim than the amount paid in the respect of the lot. Article 18. Notice to Buyers According to the law of Taiwan (R.O.C.), artistic works that determined as over-100-year historical works are forbidden for export.

Part III. The Seller Article 19. Warranty of Title (1) The seller must warrant that the lot is free from any right enforceable by the third parties against the buyer. (2) The seller must warrant that immediate delivery of the lot upon the request of the buyer if it is not in the custody of the Company. (3) If the seller fails to perform the liabilities prescribed in the proceeding two paragraphs, the Company may demand compensation for the nonperformance of the entire obligation. Article 20. The seller shall pay to the Company all the fees, expenses and commission accrued (both for the seller's and the buyer's sides), if the deal is rescinded by the buyer under the condition of Article 17. Article 21. Commission and Expenses (1) If the auction fails, the commission and expenses shall be 2% of the reserve price, which is the minimum hammer price. (2) If the auction succeeds or a private deal is done, the Company shall deduct from the "hammer price" at a "regulated rate" as the commission and expenses.

(3) The Company, although as the agent of the seller, may charge commission and expenses from the buyer in accordance with Article 8. Article 22. Insurance (1) Unless otherwise negotiated, the Company will insure any property consigned to it or put under its custody for any other purpose. (2) The insurance will be at the expense of the seller or the consignor and the amount of which will be decided in accordance with the Company's estimation of the value of the lot. The estimated value cannot be deemed as an insured "hammer price" however. (3) The insurance period subsists to the delivery of the lot to the buyer, the last day the buyer should pay (whenever comes first) or the day before which the seller or consignor should take back the lot due to failure of the auction. (4) If the insurance is to be collected, the full amount of the insurance compensation after deduction of related commission and expenses shall be given to the owner of the lot. (5) The seller or the consignor is liable for the loss or damage of the lots without insurance under special negotiation in accordance with the proceeding paragraph(l) unless the loss or damage is caused by the Company, its employee or agent. Any loss or damages of the Company therefore shall also be borne by the seller or the consignor. Article 23. Rescission of the Consignation (I)

(1) Unless consented by the Company, the seller shall not rescind the consignation. (2) Upon rescinding of the consignation, the consigner shall pay 20% of the reserve (which is the minimum hammer price) as the related expenses to the Company. Article 24. Rescission of the Consignation (II) (1) The Company may rescind the consignation under the following conditions: (a) The ownership or the authenticity of the lot is questionable; (b) The description or insurance of the lot by the seller is questionable; (c) The seller violates the Business Conditions; (d) Other reasonable reason occurs. (2) The seller shall pay 20% of the reserve (which is the minimum "hammer price") to the Company as related commission and expenses, if the consignation is rescinded in accordance with the preceding b.c. paragraphs. Article 25. Payment of Sale Proceeds (1) Unless otherwise agreed upon, the Company shall remit the sale proceeds to the seller during the 35th days after the auction. If by that date, the Company has not received the total amount due from the buyer, the Company will remit the sale proceeds within 5 working days after the date on which the total amount due is received from the buyer. (2) Late remittance caused by the Company, an interest of 2% per month shall be paid to the seller by the Company. Article 26. Unsold Lots (1) Where any lot fails to sell, the Company shall notify the seller accordingly. The seller shall make arrangements either to re-offer the lot or to collect the lot within two days after receiving of the notification. The collection of the lot shall be completed within 5 days after arrival of the notice. Any fees and expenses, risk, and interest accrued between the arrival of the notice and the collection of the lot shall be borne by the seller. (2) Unless otherwise agreed upon, the Company shall not insure the lot re-offered for sale. (3) The seller shall make a new resignation contract with the Company for re-sale of the lot. (4) If the seller has not contacted with the Company three days after the arrival of the notice or has not collected the lot 5 days after the arrival, the Company shall have the right to sell the lot at public auction or private sale without reserve and to deduct from the sale proceeds any sum owing to the Company before remitting the balance to the seller or, if the seller cannot be traced, placing it in bank account in the name of the Company for the seller. (5) Any lot fails to sell, not included in auction or rescinded for any reasons, the seller shall collect the lot within 35 days after receiving the notice from the Company. If not, seller will be charged NT$ 2,000 per lot for each overdue day without the extra charge of insurance. Seller can collect the lot after the all payment done.

Part IV. General Conditions Article 27. Unless the lot is proclaimed as owned by the Company prior to the auction, the Company acts as the agent for the seller. The Company is not liable for any default by the seller or the buyer. Article 28. The Company shall have the right at its absolute discretion to refuse admission to its premises or attendance at its auctions by any person. rticle 29. The Company shall negotiate with the seller for every lot and place for it a reserve, being the minimum "hammer price" at which the lot may be treated as sold, in written form. Once being placed, the reserve shall not be changed unless agreed upon by the Company. Article 30. The Company may make a bid for the seller upon request, but the Company, its employee or agent shall not be responsible for any mistake or miss of the bid by negligence. If more than one consigner make the same highest bid, from whom the consignation letter first arrives the Company shall be the buyer. Article 31. Any illustration, images, authorship, origin, provenance, age, size, material, damage or repair condition and other related statement of the lots in the Company's catalogue is for reference only. They are not under the warranty of the Company. Article 32. (1) All lots shall be sold in their present state, and the Company does not expressly or impliedly warrant that the type and quality of the lot sold are free from any defect which may impair or destroy its value. (2) Any illustration or written statement of the lots made by the Company and its employee, agent shall not be regarded as the guaranty or warranty. Article 33. The Company does not guarantee the obtainment of the copyright of the lot sold by the buyer. Article 34. The auctioneer may refuse any bid lower than 5% (or any rate decided by the auctioneer) above the previous bid. Article 35. The Company may, at its absolute discretion, represent its employees or agent for claims of the rights resulting from any sale in the auction. Article 36. Any notice made by the Company in accordance with the Business Conditions shall be in written form. Any notice by post shall be deemed as having been received by the addressee one week after dispatch. If received earlier than seven days after dispatch, the actual receiving day shall be the arrival day of the notice. Article 37. The Company shall be entitled to make photos of every lot and use the photos or images freely during and not limited in the auction. The Company has the same said right fro photos or images provided by the seller. Article 38. Sellers of nationality other than Republic of China are also subject to the Republic of China income tax and are required by the Republic of China law to file income tax with respect to sales proceeds from the auction. Article 39. Definition of the Terms (1) "Catalogue" includes any advertisement brochure, display videos, price estimation, tagged price, and other illustration of the lots. (2) "Hammer price" means the highest price at which a lot is knocked down by the auctioneer to the buyer. (3) "Total amount due" includes the hammer price in respect of the lot sold together with the commission, any related fees and expense plus rights and remedies in accordance with Article 14. (4) "Sale proceeds" means the balance of the "hammer price" less the total amount of the commission at the "stated rates" and any other related fees and expenses due to be paid by the seller to the Company. (5) "Stated rates" shall be proclaimed prior to every auction. Article 40. Definition of any other special terms not covered in the Business Conditions shall be defined in the sale catalogue of every auction. Article 41. The effectiveness, interpretation, performance and any other related matter of this Business Conditions shall be governed by the laws and regulations of the Republic of China. For all litigations arising or derived from the Business Conditions, except for those between the seller and the buyer without any involvement of the Company, the Taichung District Court shall have jurisdiction in the first instance. Article 42. Any discrepancy between the Chinese version and any other language version of this Business Conditions, the Chinese version shall prevail.