RAVENEL AUTUMN AUCTION 2013 HONG KONG Modern and Contemporary Art
羅芙奧香港 2013 秋季拍賣會 現代與當代藝術拍賣
AUCTION
拍賣日期 / 地點
Sunday, 24 Nov 2013, 5:30pm Grand Hyatt Hong Kong (Grand Ballroom) 1 Harbour Road, Wanchai, Hong Kong
2013年11月24日（日） 下午 5:30 香港君悅酒店（宴會大禮堂） 香港灣仔港灣道1號
PREVIEWS
預展日期 / 地點
Taichung
台中 2013年11月9日（六） 下午1:00至下午6:00 2013年11月10日（日） 上午11:00至下午6:00 寶輝建設接待中心 台中市市政北二路與惠來路交叉口
Saturday, 9 Nov 2013, 1:00pm - 6;00pm Sunday, 10 Nov 2013, 11:00am - 6:00pm Pao-huei Construction Reception Center Intersection of Shizheng North 2nd Road and Huilai Road, Taichung, Taiwan
Taipei
Saturday, 16 Nov 2013, 10:00am - 7:00pm Sunday, 17 Nov 2013, 10:00am - 7:00pm Fubon National Conference Centre B2, No.108, Sec. 1, Dunhua South Road, Taipei, Taiwan
Hong Kong
Friday, 22 Nov 2013, 2:00pm - 7:00pm Saturday, 23 Nov 2013, 10:00am - 7:00pm Grand Hyatt Hong Kong - Tiffin 1 Harbour Road, Wanchai, Hong Kong
台北 2013年11月16日（六） 上午10:00至下午7:00 2013年11月17日（日） 上午10:00至下午7:00 富邦人壽大樓國際會議中心 台北市敦化南路一段108號B2 香港 2013年11月22日（五） 下午2:00至下午7:00 2013年11月23日（六） 上午10:00至下午7:00 香港君悅酒店（M樓茶園） 香港灣仔港灣道1號
As requested by the Buyer, we are delighted to offer the condition reports of all the auction items, provided, however, such items will be sold “as is”. In addition, the Buyer is requested to take note of the transaction agreement and the explanations of the provisions regarding the notice of no-guarantee. This auction catalogue: HK$ 400 per copy.
Arthur WANG 王鎮華
Chairman 董事長
Clara KUO 郭倩如
Vice Chairman 副董事長
Lorries CHANG 張增偉
C.E.O. 執行長
傅斐郡 Flora Fu
陳惠黛 Odile Chen
藝術部總經理 President, Art Department
藝術部總經理（海外拓展） Chief Specialist, Art Department
張雁茹 Virginia Chang 客戶發展與服務部 總經理 President, Client Development and Services Department
林品妘 Dannie Lin 客戶發展與服務部 經理 Manager, Client Development and Services Department
鄧秀麗 Crystal Tang 專家 Specialist
楊千嬅 Kelly Yang
張淳茹 Sabrina Chang 營運部 協理 Senior Manager Operation Department
簡詩蕙 Raze Kan
初級專家 Junior Specialist
營運部 營運專員 Operation Officer Operation Department
陳芊如 Carrie Chen
王俊達 Dylan Wang
客戶發展與服務部 高級專員 Senior Coordinator, Client Development and Services Department
香港公司在台辦事處 專員 HK Office in Taiwan Coordinator
Contents 1
Sale Information 羅芙奧秋季拍賣會
5
Ravenel Services 羅芙奧之服務
12
Modern and Contemporary Art 現代與當代藝術
129
Transaction Rules For Art (Hong Kong) 業務規則
135
Absentee Bid Form 委託競投表格
137
Index 畫家索引
RAVENEL STAFF AND SERVICES FOR THIS SALE ART CONSULTANTS
COLLECTION AND SHIPPING
Taipei President, Art Department
Taiwan
Flora Fu Tel: +886 2 2708 9868 ext. 888 Email: florafu@ravenel.com
Chief Specialist, Art Department Odile Chen Tel: +886 2 2708 9868 ext. 889 Email: odilechen@ravenel.com
Vice President Art Department Maggie Lin Tel: +886 2 2708 9868 ext. 886 Email: maggielin@ravenel.com
Hong Kong President, Client Development and Services Department Virginia Chang Tel: +886 2 2708 9868 ext. 971 Email: virginiachang@ravenel.com
Specialist Crystal Tang Tel: +852 2889 0859 ext. 784 Email: crystaltang@ravenel.com
Junior Specialist
Shanghai Echo Yang Tel: +86 21 2411 9575 Email: echoyang@ravenel.com
International Virginia Chang Tel: +886 2 2708 9868 ext. 971 Email: virginiachang@ravenel.com Remarks: If you are unable to attend the auction in person, you may tender the bid by phone or you may use the absentee bid forms attached at the back of the auction catalogue to tender your bid. It is also possible to bid online for selected lots. Please refer to ravenel.com for more information. In view of the limited phone line services at the auction, please inform us 24 hours prior to the auction for arrangements. Particularly for those of you who need foreign language assistance of the bidding.
CATALOGUE SUBSCRIPTION
Kelly Yang Tel: +852 2889 0859 ext. 783 Email: kellyyang@ravenel.com
Taiwan
PHONE BIDS AND WRITTEN BIDS
Hong Kong, International
Taiwan
Raze Kan Tel: +852 2889 0859 ext.732 Email: razekan@ravenel.com
Carrie Chen Tel: +886 2 2708 9868 ext. 975 Email: carriechen@ravenel.com
Hong Kong Kelly Yang Tel: +852 2889 0859 ext. 783 Email: kellyyang@ravenel.com
Beijing Helen Zhang Tel: +86 10 8587 8099 ext. 21 Email: helenzhang@ravenel.com
Online BidS Register at LiveAuctioneers www.liveauctioneers.com/sign-up
Carrie Chen Tel: +886 2 2708 9868 ext.975 Email: carriechen@ravenel.com
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The catalogues are available for subscription. For details of subscription, please refer to the explanations of the catalogue or contact the above persons.
Dylan Wang Tel: +886 2 2708 9868 ext.973 Email: dylanwang@ravenel.com
Hong Kong, International Raze Kan Tel: +852 2889 0859 ext.732 Email: razekan@ravenel.com
China Jason Dong Tel: +86 10 8587 8099 ext.22 Email: jasondong@ravenel.com
Remarks: All the items auctioned may be collected upon receipt of payments. The Buyers are requested to arrange for collection as soon as possible to facilitate warehouse inventory circulation and centralize management. We accept personal and corporate checks, however collection may be made only when such checks are honored. We apologize for no acceptance of traveler’s checks. Other items may be collected at the Ravenel Ltd. The business hours are 9:30 am to 6:30 pm, Monday to Friday. Our professional administration department may make recommendations of arrangement or the most appropriate transportation for you. Ravenel is glad to provide you with the condition report of any of the items at the auction, however, the buyers must note that all the items at the auction are sold “as is”. Please refer to the Transaction Agreement at the back of the catalogue. Please refer to the “Transaction Agreement to the Buyers”.
羅芙奧香港 2013 秋季拍賣會服務部門及連絡人 藝術品諮詢專家
取貨及運輸事宜
台北 藝術部總經理
台灣
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目錄訂閱 台灣
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本目錄開放各界訂閱，詳細訂閱辦法，請參 照目錄之說明或請洽上述聯絡人。
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註一：所有拍品在貨款結清後，即可取貨； 買家請儘早通知安排取貨事宜，以利倉庫存 貨流通和集中安排辦理，本公司接受個人及 公司支票付款，惟需在兌現後始能提貨。恕 不接受旅行支票付款。其他各項貨品可在羅 芙奧辦公室提領，上班時間為週一至週五上 午9:30至下午6:30。 註二：我們的專業行政部門可為您建議或安 排最適當的運輸方式。 羅芙奧樂意提供您本次拍賣當中任何一項拍 品的狀況報告書，惟準買家需注意拍品均是 以「當時認定」之狀況賣出，相關細項請參 照目錄後之業務規則。請參照買家需注意事 項。
Modern & Contemporary Art Sunday, 24 Nov 2013 5:30pm Grand Hyatt Hong Kong
Lots 501—546
501
LO Chan-peng
(Taiwanese, b. 1983)
Journal of Strawberry Generation 8 2007 Oil on canvas 72.5 x 91 cm ILLUSTRATED: Journal of Strawberry Generation , Aki Gallery, Taipei, 2009, color illustrated, pp. 44-45
HK$ 40,000 - 60,000 NT$ 154,000 - 231,000 US$ 5,200 - 7,700
羅展鵬 草莓族青春日誌8號 2007 油彩 畫布 72.5 x 91 cm 圖錄： 《草莓族青春日誌》，也趣藝廊，台北，2009， 彩色圖版 ，頁44-45
Ravenel
12
502
SHEN Chao-Liang
(Taiwanese, b. 1968)
沈昭良
Stage14 Miaoli County, Taiwan 2010
Stage14 苗栗 台灣
2010 Lightjet C Print edition no. 1/6 60 x 75 cm
2010 數位輸出 相紙 版次 1/6 60 x 75 cm
This artwork is to be sold with a certificate of authenticity issued by AKI Gallery, Taipei.
附也趣藝廊開立之原作保證書
HK$ 20,000 - 28,000 NT$ 77,000 - 108,000 US$ 2,600 - 3,600
Born in Tainan, Taiwan, graduated from Graduated School of Applied Media Arts, National Taiwan University of Arts. Shen was well known for his delicate documentary photography style. Shen's works usually present surrealism in documentary photos and introspection toward society. The artist received the Golden tripod awards in best photography of magazine shooting category from Government Information Office, Taiwan in 2000, 2002 and 2012. He received the first prize of book category and second prize of the independent published category in the America International Photography Award (IPA) in 2012. "Stage" series constructs unique entertainment industry and culture phenomenon in Taiwan which was invited to exhibit in Korea DAUGUPHOTO Biennale, Bilbao GETXOPHOTO international photo festival, Spain and PHOTO TAIPEI. PUBLIC COLLECTIONS: 2011 "Yulan" Magnolia Flower series, Taipei Fine Arts Museum, Taiwan 2009 "Reflections of Nan-fang-ao" series, National Taiwan Museum of Fine Arts, Taichung, Taiwan 2006 "Taiwanese Cabaret" series, Dong-Gang Museum of Photography, Korea
Ravenel
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生於台灣台南，畢業於台灣藝術大學應用媒體藝術研究 所，以細緻的紀實影像風格為名，作品經常表現寫實之中 的超現實以及社會觀察的省思。沈昭良曾於2000、2002、 2012年獲頒行政院新聞局雜誌攝影類金鼎獎。2012年榮獲 美國洛杉磯I PA國際攝影獎紀實攝影集首獎及獨立出版類亞 軍。2008、2009年以建構台灣特有娛樂產業與文化現象的 「S TA G E」系列作品，受邀於韓國大邱當代攝影雙年展、 西班牙畢爾包G E T X O P H O TO國際攝影節及2009 P H O TO TAIPEI 中展出。 美術館典藏： 2011 「玉蘭」台北市立美術館，台北，台灣 2009 「映像南方澳」，國立台灣美術館，台中，台灣 2006 「台灣綜藝團」，東江攝影博物館，韓國
503
Jui-Pin CHANG
(Taiwanese b. 1964)
張瑞頻
Hong Kong's 100 HKD, 2010 Edition
香港2010年版100元紙鈔
2013 Gouache on P-Tex 44 x 88 cm
2013 古壁畫顏料 宣影布 44 x 88 cm
Signed lower left Chang in English and dated 2013
簽名左下：Chang 2013
EXHIBITED: Cash Bucket < Ever Increasing Solo Exhibition by JuiPin CHANG , ARTDOOR Gallery, Taipei, 4 May - 2 June, 2013
展覽： 「錢桶 < 越來越大 張瑞頻個展」，藝境畫廊， 台北，展期自2013年5月4日至6月2日
HK$ 42,000 - 50,000 NT$ 162,000 - 192,000 US$ 5,400 - 6,500
Jui-Pin Chang was born in Taiwan in 1964. After graduating from the Department of Fine Arts at Taipei National University of the Arts, she undertook a program of advanced study in California and moved to the UK in 2003. In 2006, Chang invented the "bucket men", a series of works that led to a number of solo exhibitions in galleries and art centers in the UK, Taiwan, Malaysia, Singapore and US. She took part in NordArt 2011, in Büdelsdorf, Germany and the George Orwell Festival at Letchworth Art Center in the UK, and has been a resident artist in France, Germany and the US. Chang's works were nominated at the National Open Art Exhibition in the UK in 2008, 2011 Freeman Foundation Fellowship winner, USA and at the "Self A Creative" Competition organized top 100 artists, by the NYC Artists Wanted Organization in 2012. Her work included oil paintings, gouache on newspaper pieces and sculptures, utilizing depictions of bucket men to express her own fears and desire for love. Solo Exhibitions: 2013 Viva la, Bucket Men! ARTDOOR Gallery, Taipei, Taiwan; 2012 The Bucket Men in America, Red Mill Gallery Vermont Studio Center, Vermont, USA ; 2011 A Diary of Adventures-The Bucket Men, Dahlia Gallery, Singapore ; 2010 The Bucket Men Fantasia, National Tsing Hua University Art Centre, Hsinchu, Taiwan; 2009 Letchworth Art Centre, Letchworth, UK; 2009 Copper Beech Gallery, Hitchin. UK
Ravenel
16
1964年出生於台灣新竹，台北藝術大學美術系畢業後赴美 國加州大學進修。2006年發展出水桶人系列作品，多次於 英、美、新加坡畫廊及藝術中心舉辦個展，也曾參與德國 漢堡國際藝術季美展及喬治歐威爾紀念日邀請展，並於法 國、德國及美國等地駐村。曾榮獲2008年英國全國美展優 選、2011福爾曼基金會獎，及2012年由 NYC Artists Wanted Organization 所舉辦的 Self A Creative Competition 一百名優 秀藝術家獎。作品包含油畫、報紙創作及雕塑，藉由水桶人 表達自己心中的恐懼及對愛的渴望。 近期主要個展：2013年「錢桶 < 愈來愈大」，藝境畫廊， 臺北，臺灣；2012年「水桶人在美國」，紅磨坊畫廊佛蒙特 藝術中心，佛蒙特州，美國；2011年「水桶人冒險日記」， 達利亞畫廊，新加坡；2010年「水桶人－臺灣首展」，蓽蘿 藝術中心，臺北，臺灣；2009年淶奇沃斯藝術中心，淶奇沃 斯，英國；2009年古柏畢齊畫廊，黑琴，英國。
504
HSU Tzu-Kuey
(Taiwanese, b. 1956)
Clown Dragon 2013 Mixed media 50(L) x 45(W) x 33(H) cm Signed on the bottom a-KUI in English, dated 2013
HK$ 15,000 - 18,000 NT$ 58,000 - 69,000 US$ 1,900 - 2,300
許自貴 小丑龍系列 2013 綜合媒材 50(長) x 45(寬) x 33(高) cm 簽名底部中間：a-KUI 2013
Born in Kaohsiung, Hsu Tzu-Kuey graduated from Department of Fine Arts, National Taiwan Normal University. He has completed a degree of Master of Fine Arts (M.F.A) from Pratt Institute, New York in 1988. The artist has participated in dozens of exhibitions since 1980. For example, "Hsu Tzu-Kuey exhibition" Art Beijing, 2011; "BeaChe ─ Hsu Tzu-Kuey solo exhibition" in Dongmen Art Museum; Art Expo Malaysia, 2009; Art Taipei, 2008. PUBLIC COLLECTIONS: Taipei Fine Art Museum National Taiwan Museum of Fine Arts Kaohsiung Museum of Fine Arts
Ravenel
18
生於台灣高雄，國立台灣師範大學美術系畢業。1988年於 美國紐約普拉特學院藝術研究所獲得學位。自1980年至今 已舉辦數十回展覽。如2011藝術北京當代藝術博覽會「許自 貴創作展」及台南市東門美術館「BeaChe ─ 許自貴2011個 展」、2009年馬來西亞藝術博覽會、2008台北國際藝術博 覽會。 美術館典藏： 台北市立美術館 國立台灣美術館 高雄市立美術館
505
HSU Tzu-Kuey
(Taiwanese, b. 1956)
許自貴
Clown Dragon
小丑龍系列
2013 Mixed media 70(L) x 45(W) x 28(H) cm
2013 綜合媒材 70(長) x 45(寬) x 28(高) cm
Signed on the bottom a-KUI in English and date 2013
簽名底部中間：a-KUI 2013
HK$ 15,000 - 18,000 NT$ 58,000 - 69,000 US$ 1,900 - 2,300
Born in Kaohsiung, Taiwan in 1956, Hsu Tzu-kuey's family originally came from the Penghu Islands (also known as the Pescadores, which lie between Taiwan and China in the middle of the Taiwan Strait). The beautiful sunsets at Hsi-yu Island, the rich blue tones of the surrounding ocean, and the texture of the walls of the Penghu Islands' traditional houses – all of which has influenced Hsu's creative work. In 2004, Hsu Tzu-kuey accepted an administrative post as Director of the Department of Fine Arts at the Tainan University of Technology, which took up a lot of his time and energy. One day, he happened to come across a book about chameleons, and was captivated by their bright colors and ever-changing appearance. He was deeply inspired by this and began to collect large collection of books and articles about chameleons and embarked on the creation of a series of art works relating to chameleons, following his previous "Dragon Transformations," "Ocean Beauty" and "Angel" series. Through a process of artistic transformation, these images of animals from the natural world become Hsu Tzu-kuey's "mythological family," displaying the wide variety of different forms that life can take. Working from his rich imagination, Hsu is able to give the figures spectacular coloration and lively expressions. This imaginative exploration of the relationship between nature and the self parallels elements of the primitive art; it takes an animist, polytheistic cosmology as the starting point for imagining how the world is constructed. The "dragon" is transformed into the "soul" in an anthropomorphic manner, with human and animal images being combined to create a sacred spirit. In Hsu Tzu-kuey's "book of myths and fables," he is transformed from the propagator of a "natural world family" into a shaman. At his sacrificial altar, magic spells, and a staff of power, bring forth human desires from the image of a dragon, as the artist takes on the role of metaphoric spirit medium. The observation of the environment and of life that is reflected in Hsu Tzu-kuey's works does not take the form of abstract, objective, third-party observation; rather, it is first-person, participative observation. Whether in his "Dragon" series, with its reflection of the special characteristics of Hsu's own personal environment, or in the "Dragon Transformations" series, with its imaginative depictions of desire, for Hsu Tzu-kuey, artistic creation is always a form of self-revelation with respect to life, and the human body. Through this unconscious revelation, Hsu has constructed his own natural world and his own mythology.
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This exhibition includes a number of "Clown Dragons." These figures are significantly divorced from the reality of the chameleon. They resemble clowns wearing a chameleon costume, or chameleons wearing a mask that bears the clown's characteristic red nose. The amorphous nature of the depiction enhances the humorous, stimulating effect of the works. 1956年生於台灣高雄，籍貫澎湖，西嶼落霞、海水湛藍、古 厝斑駁肌理影響著許自貴的創作。2004年接下台南科技大學 美術系系主任行政工作時，佔掉許多時間與心思，一次無意 間看到了變色龍書籍，鮮艷色彩、多變的造型讓藝術家深深 著迷，於是他蒐集大量相關書籍研究，進行一系列的變色龍 創作，接著龍的演化、海色之美、天使系列。 來自於自然的動物形象，在經過轉化後構成屬於許自貴的神 話家族，呈現多樣的生命諸態，從他的想像世界延伸，輕鬆 的賦予瑰麗色彩、活靈活現的表情。宛如原始民族般，想像 著自然與自身的關係，從萬物皆有靈的多神宇宙出發想像世 界的構成。因此，「龍」演化為「靈」，以擬人化的面貌現 身，結合人與動物的形象成為神靈。於是在許自貴的神話繪 本中，他不再是自然家族的孕育者，而化身為通靈的巫者。 在他的祭壇裡咒語與權杖輕觸，關於人的慾望從龍的形象蛻 出，成為隱喻人性的巫靈。許自貴的作品對於環境與生命的 觀察，並非處於一個抽離的客觀第三者的姿態，而是深處其 中的第一人稱。無論是「龍」作品系列關於所處環境特色的 反映，亦或是「龍的演化」關於慾望想像的描繪，藝術創作 對許自貴來說，是他對生命、身體的自我顯露，也就建構了 屬於他的自然與神話。 此次拍賣的兩件「小丑龍」，已脫離了變色龍的真實性，看 似小丑披上變色龍外衣，又像變色龍戴上面具、裝上小丑的 經典特色─紅鼻子，當中的模糊地帶饒富趣味，幽默有趣。
506
PANG Jiun
(Chinese, b. 1936)
Fruit 2002 Oil on canvas 53.3 x 46.6 cm Signed lower right Pang Jiun in Chinese and dated 2002 Signed on the reverse upper center Pang Jiun both English and Chinese Signed on the reverse Pang Jiun both English and Chinese, titled Fruit in Chinese 10F and dated 2002 With one seal of the artist
HK$ 55,000 - 75,000 NT$ 212,000 - 288,000 US$ 7,100 - 9,700
龐均 水菓 2002 油彩 畫布 53.3 x 46.6 cm 簽名右下：龐均 2002 簽名畫背中上：龐均 PANG JIUN 簽名畫背：龐均 PANG JIUN 10F 2002 水菓 手繪鈴印：均
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507
PANG Jiun
(Chinese, b. 1936)
Window 2005 Oil on canvas 50 x 60.9 cm Signed lower left PANG JIUN in Chinese Signed year lower center 2005 Signed on the reverse PANG JIUN both English and Chinese, titled Window in Chinese, 12F , and dated 2005 With one seal of the artist
HK$ 85,000 - 120,000 NT$ 327,000 - 462,000 US$ 11,000 - 15,500
龐均 窗前 2005 油彩 畫布 50 x 60.9 cm 簽名左下：龐均 簽名年代中下：2005 簽名畫背：龐均 PANG JIUN, 2005, 12F, 窗前 手繪鈴印：均
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508
CHIU Ya-tsai
(Taiwanese, 1949 - 2013)
Chuffy with Luck Oil on canvas 80 x 65 cm Signed lower right, CHIU Ya-Tsai in Chinese This painting is to be sold with a certificate of authenticity issued by Ming Art Gallery, Taichung.
HK$ 70,000 - 100,000 NT$ 269,000 - 385,000 US$ 9,000 - 12,900
邱亞才 福相 油彩 畫布 80 x 65 cm 簽名右下：邱亞才 附台中旻谷藝術開立之原作保證書
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509
HSIAO Chin (XIAO Qin)
(Taiwanese, b. 1935)
Purple Garden 1998-2008 Acrylic on canvas 70 x 90 cm Signed on the reverse Hsiao in English and Chin in Chinese titled Purple Garden in Chinese, u garden viola in English 70 x 90 cm and dated 1998~2008
HK$ 80,000 - 120,000 NT$ 308,000 - 462,000 US$ 10,300 - 15,500
蕭勤 紫色花園 1998-2008 壓克力 畫布 70 x 90 cm 簽名畫背：Hsiao 勤 1998~2008 紫色花園 u garden viola 70 x 90 cm
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510
YUAN Jai
(Chinese, b. 1941)
袁旃
Hydrangea Blossoms
繡球花
2006 Gouache on silk 122 x 38 cm Signed lower right YUAN JAI in Chinese and dated bing xu With one seal of the artist
2006 重彩 絹本 122 x 38 cm
EXHIBITED: Yuan Jai's Solo Exhibition , Eslite Gallery, Taipei, 2 Sep. - 2 Oct., 2006 A Visionary Mind: The Art of Yuan Jai in a Quarter Century , Kaohsiung Museum of Fine Arts, Taiwan, 24 March - 24 June, 2012 ILLUSTRATED: Yuan Jai , My Humble House Art Gallery, Taipei, 2011, color illustrated, pp. 176-177 A Visionary Mind: The Art of Yuan Jai in a Quarter Century , Kaohsiung Museum of Fine Arts, Kaohsiung, 2012, color illustrated, p. 96
簽名右下：袁旃丙戌 鈐印右下：袁旃 展覽： 「袁旃個展」，誠品畫廊，台北，展期自 2006年9月2日至10月2日 「戲古幻今－袁旃創作25年歷程展」，高雄市立 美術館，高雄，展期自2012年3月24日至6月24日 圖錄： 《袁旃》，寒舍空間，台北，2011， 彩色圖版，頁176-177 《戲古幻今－袁旃創作25年歷程展》，高雄市立 美術館，高雄，2012，彩色圖版，頁96
HK$ 150,000 - 200,000 NT$ 577,000 - 769,000 US$ 19,400 - 25,800
Yuan Jai was born in Chongqing, Sichuan Province. Yuan majored in traditional Chinese painting in Department of Fine Arts, National Taiwan Normal University in 1962. Then she graduated from Belgium Royal College of Heritage Maintenance in PhD. degree in 1968. After completing her education, the artist worked for decades at the National Palace Museum in Taipei. Well trained by Chinese traditional academy theories and cultivated by European art forms, Yuan’s art style combines the beauty between traditional Chinese and European paintings. For example, the models in Yuan's works use geometrical and symbolic approaches to re-interpret traditional landscape painting. Yuan’s works were widely exhibited in Taipei Fine Arts Museum, National Museum of History, Taiwan and Kaohsiung Museum of Fine Arts. SELECTED EXHIBITION: 2004 "The Yellow Box" Taipei Fine Arts Museum 2004 "Taipei Online" Museum of Contemporary Art, Taipei 2006 "Art in Motion" Museum of Contemporary Art Shanghai 2006 "Chinese Contemporary Ink" Shanghai Duolun Museum of Modern Art 2012 "A Visionary Mind: The Art of Yuan Jai in a Quarter Century Kaohsiung Museum of Fine Arts
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生於中國四川重慶，1962年進入台灣師範大學美術系主修國 畫，1968年畢業於比利時皇家文物學院博士先修班。學成後 於台北故宮博物館服務數十年。紮實的中國學院的傳統基礎 訓練輔以歐洲藝術史的陶冶，使袁旃的藝術融合中國傳統繪 畫與西方藝術形式的美好，例如在造型上，袁旃以幾何、符 號化的方式重新演繹中國古典山水中的造型元素。藝術家先 後於台北市立美術館、臺灣國立歷史博物館、國立高雄美術 館美館舉辦多次展覽。 精選展覽： 2004「黃盒子」台北市立美術館 2004「台北 Online」台北市立當代美術館 2006「Art in Motion」上海當代藝術館 2006「當代水墨」上海多倫多美術館 2012「袁旃�戲古幻今— 袁旃創作 25 年歷程展」 高雄市立美術館
511
SU Wong-shen
(Taiwanese, b. 1956)
Artificial Landscape 1997 Oil on canvas 80 x 80 cm Signed on the reverse Su Wong-shen in Chinese and titled Artificial Landscape in Chinese, dated 1997 PROVENANCE: Ravenel, Taipei, 7 Dec. 2008, lot 207 Acquired by the present owner from the above sale Private Collection, Asia
HK$ 160,000 - 280,000 NT$ 615,000 - 1,077,000 US$ 20,600 - 36,100
蘇旺伸 假山假水 1997 油彩 畫布 80 x 80 cm 簽名畫背：假山假水 蘇旺伸 1997 來源： 羅芙奧，台北，2008年12月7日，編號207 現藏者購自上述拍賣 亞洲私人收藏
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512
KUO Chwen
(Taiwanese, 1965 - 2011)
郭淳
Floating Mind | Sea 06-02
心識系列 | 海06-02
2006 Oil on canvas 100 x 100 cm
2006 油彩 畫布 100 x 100 cm
Signed on the reverse KUO Chwen in Chinese, dated 2006
簽名畫背：郭淳 2006
EXHIBITED: Floating Mind - KUO Chwen Solo Exhibition , Eslite Gallery, Taipei, 6 - 28 October, 2007 ILLUSTRATED: Floating Mind , Eslite Gallery, Taipei, 2011, color illustrated, pp. 114-115 PROVENANCE: Eslite Gallery, Taipei Acquired by the present owner from the above Private Collection, Asia
展覽： 「郭淳個展─流離心識」，誠品畫廊， 台北，展期自2007年10月6日至10月28日 圖錄： 《流離心識》，誠品畫廊，台北，2011， 彩色圖版，頁114、115 來源： 誠品畫廊，台北 現藏者購自上述來源 亞洲私人收藏 附誠品畫廊開立之原作保證書
This painting is to be sold with a certificate of authenticity issued by Eslite Gallery, Taipei.
HK$ 120,000 - 180,000 NT$ 462,000 - 692,000 US$ 15,500 - 23,200
"Art is the crystallization of the love between gods and human beings, with humans being the ones who benefit most from the relationship as they lose themselves in the gods' embrace. And the process whereby this takes place is a secret that cannot be divulged." (Kuo Chwen) Kuo Chwen's early works have an eerie quality to them. Huge insects, animals etc. appear amid familiar, ordinary buildings and spaces, with 'theatrical' devices used to bring across Kuo's critique of various aspects of the world as it exists in reality, or to express his sadness in the face of human stupidity. Despite being depicted with great realism, Kuo's insects and animals are also incomparably magical and beautiful; Kuo's sublime brushwork and detailed, smoothly executed compositions embody a rich surrealist lexicon. S t a r t i n g i n 1997, K u o's a r t b e g a n t o u n d e rg o a p r o n o u n c e d transformation. While Kuo continued to take his subject matter from the natural world, the protagonists of his paintings were now skeletons that symbolized the essential aspects of the human being. Through his interpretation of human consciousness and spiritual emptiness, Kuo explored themes relating to human psychology and the meaning of existence, applying an artist's perspective to the coldeyed observation of the combination of the real and the imaginary that is the essence of human existence, and using the artistic lexicon of surrealism to create a discourse on the birth and extinction of desire, the value of existence, and other questions relating to human life. K u o C h w e n o n c e s a i d t h a t h e s o u g h t t o a c h i e v e "a f r e s h, unconventional kind of perception. The experience of the human
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inner life is not one of fantasy or delusion; the meaning lies in the abundant depths of unknown, vigorous, sacred energy that lies behind the world of the senses." These remarks formed part of Kuo's comments on his own work for the "Floating Mind" solo exhibition of his work that was hosted by the Eslite Gallery in 2007. This particular piece was one of the works included in that exhibition, Kuo's last ever solo exhibition. It fully reflects the artist's painstaking exploration of the psychological and spiritual depths of both the individual and humanity as a whole. 「藝術是神與人的愛情結晶，人是被臨幸的一端，溢滿於懷，過 程則是不可揭露的祕密」-- 郭淳 郭淳早期作品具有一種詭魅的氣息，在常見或熟悉的建築與空間 中，出現巨大的昆蟲、動物等生物，透過舞台般巧妙安排的佈景 中，傳達他對現實世界的批判，或者對世人愚昧的悲哀。郭淳筆 下的昆蟲和動物寫實之餘卻是無比的奇幻與美麗，他高度描繪技 巧以及極度細膩平滑的畫面帶有濃厚的超現實主義語彙。 自1997年起，郭淳的作品則出現了顯著的轉變，雖仍取材於自然 界，畫作中的主角為象徵「真正本質」的骷髏人，以人類空性與 心識的演繹，探討人的心靈狀態和存在意義為主題。從藝術家的 角度，在冷眼旁觀的位置上思考人生既真實又虛幻的本質；用超 現實的繪畫語言，論述慾望之生滅、生存之價值等生命議題。 郭淳曾說「帶來清新脫俗的洞見，內心世界的經驗並非幻象，意 義存在於五感世界背後，洋溢著深邃、未知、活潑、神聖的氣 蘊」，這是他在2007年「流離心識」誠品畫廊個展創作自述中的 陳述。而此件作品正是在這場郭淳生前的最後一次個展當中的作 品，展現出藝術家屬於個人或人類心理層面的微妙探索。
513
Paul CHIANG
(Taiwanese, b. 1942)
Eternal Contemplatation 2004 Oil on canvas 122 x 122 cm Signed on the reverse P.C. in English and dated 04 PROVENANCE: Ravenel, Hong Kong, 1 Dec. 2008, lot 108 Acquired by the present owner from the above sale Private Collection, Asia
HK$ 180,000 - 280,000 NT$ 692,000 - 1,077,000 US$ 23,200 - 36,100
江賢二 永恆的冥想 2004 油彩 畫布 122 x 122 cm 簽名畫背：P.C.04 來源： 羅芙奧，香港，2008年12月1日，編號108 現藏者購自上述拍賣 亞洲私人收藏
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514
LIEN Chien-hsing
(Taiwanese, b. 1962)
Encountering in the Mouth of Tzeng-Wen River II 1999 Oil on canvas 90 x 130 cm Signed lower right LIEN Chien-hsing in chinese, dated 1999 EXHIBITED: Lonely Earth - Lien Chien-hsing , Eslite Gallery, Taipei, 15 Sep. - 7 Oct., 2001 Reality and Fiction:Sceneries of the Mind , Eslite Gallery, Taipei, 9 June - 8 July, 2012 ILLUSTRATED: Lonely Earth - Lien Chien-hsing , Eslite Gallery, Taipei, 2001, color illustrated, p. 54 Lien Chien-hsing , Eslite Gallery, Taipei, 2012, color illustrated, p. 195 PROVENANCE: Ravenel, Taipei, 4 Jun., 2006, lot 099 Acquired by the present owner from the above sale Improtant Private Asian Collection
HK$ 180,000 - 260,000 NT$ 692,000 - 1,000,000 US$ 23,200 - 33,500
連建興 曾文溪口的邂逅 II 1999 油彩 畫布 90 x 130 cm 簽名右下：連建興 1999 展覽： 「寂寞樂土─連建興」，誠品畫廊，台北， 展期自2001年9月15日至10月7日 「擬像風景」，誠品畫廊，台北， 展期自2012年6月9日至7月8日 圖錄： 《寂寞樂土─連建興》，誠品畫廊，台北，2001， 彩色圖版，頁54 《連建興》，誠品畫廊，台北，2012， 彩色圖版，頁195 來源： 羅芙奧，台北，2006年6月4日，編號099 現藏者購自上述拍賣 亞洲重要私人收藏
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515
LIEN Chien-hsing
(Taiwanese, b. 1962)
Hidden Dance, Love Song 2001 Oil on canvas 97 x 145.5 cm Signed lower left Lien Chien-hsing in Chinese and dated 2001 Signed on the reverse Lien Chien-hsing in Chinese and titled Hidden Dance, Love Song in Chinese, size 80P , dated 2001 ILLUSTRATED: Lien Chien Hsing - Lonely Earth , Eslite Gallery, Taipei, 2001, color illustrated PROVENANCE: Ravenel, Taipei, 6 Dec. 2009, lot 094 Acquired by the present owner from the above sale Private Collection, Asia
HK$ 260,000 - 300,000 NT$ 1,000,000 - 1,154,000 US$ 33,500 - 38,700
連建興 隱舞情歌 2001 油彩 畫布 97 x 145.5 cm 簽名左下：連建興 2001 簽名畫背：隱舞情歌 80P 2001 連建興 圖錄： 《連建興－寂寞樂土》，誠品書廊，台北，2001， 彩色圖版 來源： 羅芙奧，台北，2009年12月6日，編號094 現藏者購自上述拍賣 亞洲私人收藏
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516
Izumi KATO
(Japanese, b. 1969)
Untitled 2008 Oil on canvas 112 x 162 cm Signed on the reverse KATO in English IZUMI in Japanese Kanji, inscribed oil on canvas 112 x 162 cm (100P) , dated 2008 PROVENANCE: Sotheby's, New York, 11 May. 2011, lot 554 Acquired by the present owner from the above sale Important Private Asian Collection
HK$ 280,000 - 400,000 NT$ 1,077,000 - 1,538,000 US$ 36,100 - 51,600
加藤泉 無題 油彩 畫布 112 x 162 cm 簽名畫背：2008 Oil on canvas, 112 x 162 cm (100P) KATO 泉 來源： 蘇富比，紐約，2011年5月11日，編號554 現藏者購自上述拍賣 亞洲重要私人收藏
"Day after day, I make my work continuously. What is relatively consistent is what is depicted: human figures. I suppose I am interested in humankind. For the past ten years, my work has gradually changed. I have no problem with my work changing. I love it, actually." 「我日復一日不斷創作，始終不變的，是作品的主題：人物。我想，我對於人類真的非常 有興趣。過去十年，我的作品漸漸有了改變，但是我並不介意這樣的變化，事實上我非常 喜歡。」
─ Izumi Kato 加藤泉
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UNTITLED Izumi KATO
The Shimane-born native began his artistic career several years after he graduated from the Musashino Fine Art University. His paintings are of an evocative quality that explore issues of identity and the shared existential tensions within a consumer society of contemporary Japan and the world at large. His techniques overcome the dichotomy between abstraction and figuration through creations that focuses primarily on his imagery, unlimited by the confines of the structures of logic and reality. Kato has exhibited extensively throughout his artistic career and was invited to the Venice Biennale in 2007 with an exhibition 'Think with the senses, Feel with the mind' where his works were singularly c o n s p i c u o u s . T h e Ve n i c e B i e n n a l e ' s c a t a l o g contained a collection of favorite texts from the artists and references books by Takeshi Kaiko and the manga works of Osamu Tezuka and Ryoko Yamagishi, which essentially may be deemed as a source of inspirations for the artist. "Untitled" feature primitive creatures depicted as an abstract form of child like anatomy that seems to be deprived of mobility, with a coat of transparent gel covering three embryonic heads and a face that encompass the traits of a child and yet they also look geriatric against the boundless aqua blue background. Superficial information such as nationality, race or name, is stripped from these figural heads and the viewer is immediately captivated by the direct gaze of the central subject, which extends to two smaller figural heads on either side like the powerful vitality exuded by blooming plants. The eyes of these figures resembles dogu from the Jomon period of prehistoric Japan, a figurine that is connotative of shamanistic rites and fertility. In essence, the work may initially appears abstract and grotesque, but in fact the artist is giving us an extremely concrete portrait of an unease he recognizes in us all.
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The three vulnerable and expressionless heads appears to be tormented by an extreme hollowness. Likewise, by numbing our sensitivities amid the flood of information and temptation that typify current society, we must suppress our emotions and at times be devoid of sensitivity for purposes of survival. The painting that Kato derived at by discarding various factors are a portrait of present humans, and they are also in fact, a portrait of ourselves. Psychiatrist and art critic Tamaki Saito has pointed out the resemblance of Kato's work to that of the Anglo-Irish painter Francis Bacon (1909-1992), whose distorted human forms also seem to suffer from a psychic pain they cannot articulate . The sense of anxiety and confusion conveyed by these figural heads produces an intuitive recognition of ourselves in his work and carry the potential to weave out various emotions and stories from the viewers. Interestingly, Kato does not work with a brush, but applies paint by hand over a vinyl glove. The artist wanted to task himself the difficulty of painting with the hand and eschewing the ease of the brush. He admits "I'm always skeptical, so I even doubt myself. Hence, it is better to paint in a way that doesn't proceed easily." To chose such a difficult way of painting seems to be inline with a dictum against a modern Japan where everything is easy to procure, and can be interpreted as a gesture of the artist's frustration with contemporary society. The appeal of Kato's paintings lies in his ability to portray the depth of the human unconscious and entice the viewers to contemplate upon the energy that the very primitive life possesses, a realm that cannot be easily explained by words or logic. Through the classical techniques of painting, Kato practices an unrefined yet direct, sharable, real artistic expression in a contemporary world while magnificently balances both aspects of depicting the real world and the subjective expression by employing himself as the medium in an objective and detached manner.
加藤泉在日本島根縣出生，畢業於日本武藏野美術大學，幾 年後開展其藝術生涯。他在作品中探討現今日本這個消費社 會、乃至全世界熱議的身份認同問題，以及各種矛盾，啟發 觀眾深思。在其作品中，加藤巧妙地解決了選取抽象或寫實 表現形式的問題，不受邏輯與現實框架的限制，專注描繪主 題。他曾多次舉辦展覽，更於2007年獲邀參加威尼斯雙年 展「以感性思考，以心靈感受」的特展，其作品受到多方注 目。威尼斯雙年展的圖錄中輯錄了許多加藤泉喜愛的藝術家 的句子，包括日本作家開高健的書籍、漫畫家手塚治虫、山 岸涼子的作品，這些可視為加藤泉的靈感泉源。
加藤泉畫作引人入勝的地方，在於他洞悉人類潛意識深處的 反應和感受，帶領觀者思索原始生命擁有的能量，這是無法 用言語或合乎邏輯的方式闡明的事。加藤泉在畫作中以客觀 抽離的角度，恰到好處地反映真實世界和表達主觀感受；這 件與眾不同的作品，無疑是當今世界中一件真實直接、能夠 引起共嗚的藝術佳作。
《無題》描繪一個有著兒童形象的原生生物，他們只有頭 顱，彷彿無法移動。一層透明膠覆蓋著三個胚胎似的頭， 以及一張稚嫩的臉，在無邊無際的水藍背景之中卻又顯得成 熟。三個頭像的國籍、人種或姓名等基本資料均無從稽考。 欣賞此作時，觀者會立刻被中央角色的雙眼吸引，然後移動 視線到兩側長於柱上較小的頭上 ― 形同在莖幹上綻放花朵 的植物般充滿生命力。人物的雙眼與日本史前繩文時代在巫 祭儀式中代表生育的「土偶」相似。在本質上，此作予人抽 象趣致的印象，但事實上，加藤泉能夠極為準確地刻劃出從 普羅大眾身上觀察到的不安。 三個脆弱而沒有表情的頭像，似乎極度空虛。在資訊氾濫、 到處充滿誘惑的現今社會中，我們為了生存，必須抑壓情感 的表達去迎合世界。加藤泉的人像作品取材自現代人，他 去除了許多人物特徵，令眾人皆可成為畫中肖像的主角。精 神科醫師兼藝評家齊藤環指出，加藤泉與英裔愛爾蘭畫家法 蘭西斯．培根(1909-1992)有共通之處，後者作品中扭曲的 人，似乎正遭受精神上的折磨，無法舒解心靈的痛楚。加藤 泉作品上的頭像表現焦慮和困惑，讓我們直覺地聯想到自己 過去的經歷，百感交雜。 本作有趣的是，藝術家不是以畫筆創作，而是戴著乳膠手套 用手作畫。他捨棄方便的畫筆，是要給自己一個考驗，提高 作畫的難度。他曾坦承：「我是一個多疑的人，我甚至懷疑 自己。因此，我選擇比較困難的方式作畫。」選擇困難的創 作方法，象徵對現代日本這個便利社會的一種反抗，亦可視 為加藤泉對當代社會失望的表現。
Francis Bacon, Study for a Portrait I, 1953 Collection of the National Gallery, London, UK. 法蘭西斯．培根《肖像習作一》1953年 國家美術館，英國倫敦
517
Hiroyuki MATSUURA
(Japanese, b. 1964)
Number of Forest 2006 Acrylic on canvas 194 x 33 cm (left) 194 x 130 cm (central) 194 x 33 cm (right) Signed on the reverse Hirouki Matsuura in English 2006.10.14 (left) Signed on the reverse Hiroyuki Matsuura in English 2006.10.14 (central) Signed on the reverse Hiroyuki Matsuura in English 2006.10.14 (right) EXHIBITED: Hiroyuki Matsuura Solo Exhibition , Eslite Gallery, Taipei, 7 - 29 April, 2007 ILLUSTRATED: Ultra New Visions , Eslite Galler, Taipei, 2007, color illustrated, pp. 22-23 PROVENANCE: Eslite Gallery, Taipei Acquired by the present owner from the above Private Collection, Asia This painting is to be sold with a certificate of authenticity issued by Eslite Gallery, Taipei.
HK$ 300,000 - 480,000 NT$ 1,154,000 - 1,846,000 US$ 38,700 - 61,900
松浦浩之 森林之數 2006 壓克力 畫布 194 x 33 cm (左) 194 x 130 cm (中) 194 x 33 cm (右) 簽名畫背(左)：Hiroyuki Matsuura 2006.10.14 簽名畫背(中)：Hiroyuki Matsuura 2006.10.14 簽名畫背(右)：Hiroyuki Matsuura 2006.10.14 展覽： 「松浦浩之個展」，誠品畫廊，台北，展期自2007年4月7日至4月29日 圖錄： 《Ultra New Visions》，誠品畫廊，台北，2007，彩色圖版，頁22-23 來源： 誠品畫廊，台北 現藏者購自上述來源 亞洲私人收藏 附誠品畫廊開立之原作保證書
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NUMBER OF FOREST Hiroyuki MATSUURA
One of the greatest human cultural accomplishment of the last century was the immersion of our lives in a digitalized environment. Many household gadgets commonly found in the contemporary world is dependent upon electronic gauges and digital systems. In this regard, the works of Hiroyuki Matsuura predicates upon the aforementioned sentiment and acknowledges a world that is increasingly becoming digitalized. In retrospect, the artist started as a graphic designer specializing on advertising, packaging, binding and logo design. The year 1999 is significant and marked the beginning of his journey in producing posters, package and skateboard design on the theme of Character Illustration. A series of solo exhibition since 2005 further facilitated advancement in his career as an artist. In essence, the artist's work predicates upon notions of the prevalence of the digital culture and how it extends to our everyday lives, he strives to amplify the potential in these images as he believes that their existence within the monitor frame is no different from the views outside our window frames. "Number of Forest", the central blonde character dressed in a hooded forest green ensemble seem to speak directly to its audience. The various tones of green utilized on the canvas delicately extenuate the acrylic sheen of the cyan icy-blue pupils of the figure that conveys a sense of innocence through its direct gaze and an ensemble that may possibly be perceived as reminiscence of the little red riding hood's. While the chubby white bird seating in the warm embrace of its nest constitute a humorous component that compliments the expression and demeanor of the central character, who is not shown in its entirety creating a contextual narrative that extends beyond the confines of the canvas. In this regard, the highly decorative and flavorful works of Matsuura Hiroyuki can be considered as a part of neo-Japanism, where the dazzling vibrant colorings and clean lines bordering smooth and saturated colors are sharp and stylish adding life to the subject matter through a combined style of graphic arts and comics. At the same time this attribute greatly appeals and fuels our imagination through a fusion of our own nostalgic memories and subjective senses. This quality is particularly applicable to the present generations, who are accustomed to constantly be surrounded by an abundance of options and have the luxury of cherry-picking things that appeal to the taste of the particular individual. The emotions expressed in Matsuura's animamic images alludes to his aim of establishing a symbolic representations of both his daily realities and the virtual realities in the digital world, as the characters depicted on his canvases are actual personalities of those whom he had acquaintance on a personal level, allowing its audiences to relate and connect with the characters in his works with great ease. Hence, the characters are not merely figments of his own imagination, but soulful depiction derived from real people. His approach is therefore very different from the Pop Art of the 1960s; his paintings are not only part of the animamic trend, but works of art that transpires into the realms of cartoons, animation, comics and contemporary art. This ideology allude to the artist's believes that these characters in the digital age are starting to have lives equivalent of ours, with "acrylic skin on the celluloid boards" and a soul of its own, their existence transcends the boundaries between an adult and a child, or men and women. These characters will indefinitely evolve together with the digital society and becomes a part of the global culture. Matsuura works presents a juxtaposition between real existence and virtual situations, the colorful bright colors of digital imaging of the new century driven by animamic aesthetics constructs endlessly changing visual forms that nurtures the present taste, while simultaneously connotative of the sentiment that the digital world can be fully incorporated into our lives in this era of global digitalization. These dazzling visual effects bear metaphorical and humorous content that are ubiquitous in Asian popular culture today.
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"We have always been surrounded by the existence of characters in unrealistic situations which would never occur to real people, characters laughed, cried, and got angry, to easily remove the guard we have surrounding our hearts. Characters took us to the dream world" 「在虛幻的情境中，我們總是被真實世界無法接觸的事物或角色包圍，這些角色會笑、會哭、會憤怒， 能夠輕易地卸下我們內心的武裝。虛幻的角色引領我們進入夢的世界中」
－ Hiroyuki Matsuura.松浦浩之
在上一個世紀，人類文化最偉大的成就之一，是將我們的生活融入數位世界之中。在現今的社會，許多 家居用品都需要依賴電子器材與數碼系統運作。松浦浩之的作品描繪了虛構人物的喜怒哀樂，指出整個 世界正在進一步數位化。松浦過去曾是一位平面設計師，擅長廣告、包裝、書籍封面和商標設計。 1999年，他的設計事業邁向新的里程，開始以人物插圖設計海報、包裝與滑板。從2005年開始，他舉辦 了一系列個人展覽，標誌著其藝術家生涯的一大進展。松浦浩之的作品主要強調數碼文化無所不在，逐 步滲入我們日常生活的每個角落。他努力通過創作突破現存的界限，拓展人物插畫的發展空間，因為他 相信螢幕上虛擬的情景與我們從窗戶往外看並無不同。 《森林之數》的畫面中央正面描繪一個頭戴帽巾、身穿碧綠服裝的金髮人物，彷彿與觀眾直接對話。藝 術家運用了深淺不一的綠色，突顯主角冰藍色的眼珠。主角向前方直視的神情，讓人感受到其天真無邪 的個性，而其裝束則令人聯想起小紅帽的故事。胖胖的白雀安逸地坐在溫暖的巢中，為畫作增添了幽默 感，並映襯畫中人物純真可愛的神態行為。畫作只展示了人物的上半身，暗示著當中描述的故事尚未完 結，並在畫布以外延續。松浦浩之高度裝飾及獨樹一幟的表現手法可視為新日本主義的特色之一。他結 合了繪圖和漫畫的風格，選用奪目的色彩，並在線條分明的輪廓內填上平滑的實色，為主角注入生命 力。與此同時，畫作激發了觀者的想像力，亦勾起了眾人的回憶與主觀感受。此為這個世代的人的特 質，他們身邊被眾多選擇包圍，故能因應個人的喜好品味隨心所欲地作出選擇。 松浦浩之嘗試將現實生活中認識的人物以漫畫形象呈現，並將其日常生活的經歷和數位世界虛構的事物 寄寓其中，讓觀賞者對其筆下的人物角色有所認識。因此，作品描繪的主角並非來自畫家的虛構想像， 而是真實人物的寫照。此外，藝術家的表現手法與二十世紀六十年代的普普藝術大相逕庭；其畫作除了 體現動漫風格，亦將卡通、動畫、漫畫及當代藝術共冶一爐。藝術家相信數位世界中虛構的人物與我們 在現實世界中共存 — 他們有獨立的思想和「塑膠彩質的皮膚」，並以突破年齡界限、跨越性別的形象呈 現。這些人物角色隨著數位產品的普及而廣泛傳播，成為全球文化的一部份。 松浦浩之的作品展現了真實世界與虛擬場景的對比。在其畫作上，象徵新世紀數碼世代和動漫風格的鮮 艷色彩配以各種藝術形式，構成了不同的視覺造型，成為當代美學潮流的特色。與此同時，作品隱含了 在全球化下，數碼世界融入我們的生活後帶來的各樣情感。這些寓意深遠且帶有幽默感的視覺元素遍及 現今亞洲流行文化之中，令人目眩神迷。
518
YUAN Jai
(Chinese, b. 1941)
Entwined 2004 Ink and color on paper 178 x 95 cm Signed lower right Yuan Jai in Chinese With one seal of the artist EXHIBITED: Solo Exhibition by Yuan Jai , Eslite Gallery, Taipei, 2 Sep. - 2 Oct., 2006 Solo Exhibition of Ink Painting by Yuan Jai , My Humble House Art Gallery, Taipei, 7 Jan., 2012 ILLUSTRATED: Yuan Jai, My Humble House Art Gallery, Taipei, 2011, color illustrated, pp. 240-241
HK$ 380,000 - 480,000 NT$ 1,462,000 - 1,846,000 US$ 49,000 - 61,900
袁旃 天高地迴 2004 彩墨 紙本 178 x 95 cm 簽名右下：袁旃 鈐印：袁旃 展覽： 「袁旃個展」，誠品畫廊，台北，展期自 2006年9月2日至10月2日 「丹青獻瑞-袁旃迎新水墨展」，寒舍藝術中心， 台北，展期自2012年1月7日 圖錄： 《袁旃》，寒舍空間，台北，2011， 彩色圖版，頁240-241
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519
Walasse TING
(Chinese-American, 1929 - 2010)
Early Morning 1977 Acrylic on canvas 102 x 91 cm Signed on the reverse ting in English, titled early morning and dated 77 Spring PROVENANCE: Private Collection, Europe
HK$ 480,000 - 750,000 NT$ 1,846,000 - 2,885,000 US$ 61,900 - 96,800
丁雄泉 清晨 1977 壓克力 畫布 102 x 91 cm 簽名畫背：early morning ting 77 Spring 來源： 歐洲私人收藏
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520
ZHOU Chunya
(Chinese, b 1955)
周春芽
Lily
百合花
1997 Oil on canvas 62 x 73 cm
1997 油彩 畫布 62 x 73 cm
Signed lower right Zhou Chunya in Chinese and ZHOU in English dated 1997
簽名右下：1997 周春芽 ZHOU
PROVENANCE: Christie's, Hong Kong, 1 Dec., 2008, lot 951 Acquired by the present owner from the above sale Private Collection, Asia
來源： 佳士得，香港，2008年12月1日，編號951 現藏者購自上述拍賣 亞洲私人收藏
HK$ 600,000 - 800,000 NT$ 2,308,000 - 3,077,000 US$ 77,400 - 103,200
"Lily" epitomizes nature in its simplest form through the medium of oil. The artist realized early on that a floral sprig could be a subject on its own during the early phrase of his artistic career. While the depiction of a lily in full bloom encompass qualities of a delicate softness frequently found in the classical ink tradition, the nostalgic composition of the brushstrokes adds dimension to the painting. The artist had succeeded in capturing the essence of a lily in full bloom, in line with a saying often utilized to describe the works of Bada Shanren, which posits, "there is not a missed line, nor the requirement of an extra brush stroke to bring out the beauty of the subject matter." The nostalgic airy brushstrokes of the flowering blossom becomes the focal point against the white backdrop that offers a delimitation of space, this attribute adheres to a theory in the Chinese ink tradition that predicates upon the notion where the void "is not devoid of sense", as declares a poem from the poet and painter Ma Desheng the early eighties. The timeless beauty of a lily in full bloom is reminiscence of tradition while the simplified, more vigorous brushstrokes used to render the stem and leafy sprigs issuing the nostalgic flowering lily dance harmoniously upon the canvas.
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《百合花》以油彩為媒材，以最簡單的形式表達大自然的精 髓。周春芽在早期時領悟到，只需一枝花便能夠成為主題。 傳統水墨畫中盛開的百合細緻動人，周氏在此作中則以懷舊 的風格點染，簡單數筆便令畫作生動傳神。周春芽成功捕捉 了盛開百合的神韻，評論家對於八大山人的評論，恰可適用 於本作品，正是「用筆不多不少，恰到好處地傳達出主題之 美」。花朵以懷舊簡練的筆觸繪畫而成，在潔白無垠的背景 上成為視覺焦點，這種表現方式來自水墨畫中的留白，「無 一物之處卻有最深遠之意」，與詩人畫家馬德生在八零年 代早期詩作中想要表達的想法相同。畫作上，百合盛放的永 恆美態令人回溯過去，在以簡約有勁的筆觸描繪的枝葉襯托 下，尤如在畫面上翩翩起舞。
521
HUANG Gang
(Chinese, b. 1961)
Pass through Space and Time (diptych) 2008 Mixed media on board 203 x 204 cm Signed lower right Huang Gang in Chinese and English PROVENANCE: Ravenel, Hong Kong, 1 Dec. 2008, lot 119 Acquired by the present owner from the above sale
HK$ 650,000 - 800,000 NT$ 2,500,000 - 3,077,000 US$ 83,900 - 103,200
黃鋼 穿越時空（雙聯幅） 2008 綜合媒材 木板 203 x 204 cm 簽名右下：Huang Gang 黃鋼 來源： 羅芙奧，香港，2008年12月1日，編號119 現藏者購自上述拍賣
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522
JU Ming
(Taiwanese, b. 1938)
Taichi Series - Taichi Kick 1988 Bronze, edition no. 17/20 75.5(L) x 95(W) x 49(H) cm Engraved Ju Ming in Chinese, numbered 17/20 PROVENANCE: Hanart TZ Gallery, Hong Kong Acquired by the present owner from the above This sculpture is to be sold with a certificate of authenticity issued by Hanart TZ Gallery, Hong Kong
HK$ 1,200,000 - 1,800,000 NT$ 4,615,000 - 6,923,000 US$ 154,800 - 232,300
朱銘 太極系列 — 肘底看捶前動 1988 銅雕 17/20 75.5(長) x 95(寬) x 49(高) cm 簽名雕刻：朱銘 17/20 來源： 漢雅軒，香港 現藏者購自上述來源 附漢雅軒開立之原作保證書
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523
JU Ming
(Taiwanese, b. 1938)
朱銘
Taichi Series – Single Whip
太極系列 — 單鞭下勢
1997 Stone, edition no. 8/10 82(L) x 36(W) x 52(H) cm
1997 石雕 8/10 82(長) x 36(寬) x 52(高) cm
Engraved Ju Ming in English and numbered 8/10 dated '97 This sculpture is to be sold with a certificate of authenticity issued by Anderson Art Marketing, Taipei.
簽名雕刻：朱銘 '97 8/10 附安德昇藝術開立之原作保證書
HK$ 1,200,000 - 1,800,000 NT$ 4,615,000 - 6,923,000 US$ 154,800 - 232,300
Taichi boxing examines the fusion of strength and tenderness, the balance of ying and yang, light and heavy at the same time, rush actions and slow responses, achieving harmony between movement and stillness. This fully manifests esthetics thought, bringing us a beautiful vision to enjoy. Moreover, this represents Ju Ming's concept toward esthetics. In all the works of "Taichi" series by Ju Ming, "Single Whip" is the most well-known form around the world. Ju Ming's "Single Whip" epitomizes the fascinating tension between inner tranquility and outward action characteristic of most Taichi moves. In this piece, Ju transcends the limitations of traditional sculpture, focusing not on the physical substance but its gentle motion, the aesthetic appeal that lies in the fluid lines and vigorous momentum of the low single whip move. In doing so, he gives us a hint of how Taichi allows the life force to circulate freely through the adept's body, just as Taichi grandmaster Wang Zongyue put it, "The energy originates in the spine, and flows as the feet follow where the trunk leads. Contraction and relaxation are one, overlapping and merged in constant repetition, continually alternating as one advances and retreats." Taking a closer look at the low single whip movement one discovers that it begins with the feet, continues with the legs, is controlled by the waist and finds its final expression in the hands. The entire body is involved in the fluid motion. Vital energy, or chi, travels from the bottom to the top, from the feet through the legs to the waist, while the adept moves in accordance with the prescribed postures. While the look on the face is blank, the
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sculpture is yet brimming with expression, conveyed through the chi made visible in its lines and curves: the pieces of the Taichi series portray not only the adept's movements and breathing, but reveal his very mind. Ju Ming does not bother-does not need to bother-with a detailed depiction of facial features, because his concern is the performer's "inner expression", the face of his soul as seen through the movements. "The chi should flow freely and the mind be calm." nothing could describe the art of Ju Ming better than this old Taichi adage. 太極拳講究剛柔相濟、陰陽平衡、有輕有沉、急應緩隨、動 靜合宜，充分體現美學思想，給人帶來一種美的視覺享受， 這更是代表朱銘美學觀念。朱銘「太極系列」作品中，最為 國內外熟知的姿態首推「單鞭下勢」。 朱銘刀下的「單鞭下勢」，本身具有力度與造型的美感，在 動靜之間，讓人感到綿綿不絕的形意流轉，因其式有起伏， 不拘泥於外在形態的雕琢，只追求意識流轉的完整呈現，誠 如太極拳宗師王宗岳所強調的「力由脊發，步隨身換。收即 是放，斷而復連，往復須有折疊，進退須有轉換」，於單鞭 下勢中可獲得最好的詮釋。 細看「單鞭下勢」的動作，其根在腳，發於腿，主宰於腰， 形於手，周身節節貫串，完整一氣。力量由下而上地傳遞， 由腳而腿而腰，武者進退靈活、得機得勢。其次，武者沒有 面目神態，但作品依然傳神，靠的是以氣傳神。太極系列凝 結的不僅是武者的動作、呼吸，還有武者的意識。朱銘匠心 獨具只見輪廓不見五官呈現出武者內斂的神情。所謂「氣宜 鼓蕩，神宜內斂」的武術家用語來形容朱銘的作品似乎比一 般的藝術風格論更貼切。
524
ZHOU Chunya
(Chinese, b. 1955)
Cyan Stone 1993 Oil on canvas 80 x 100 cm Signed lower right Zhou Chunya in Chinese and dated 1993 ILLUSTRATED: Zhou Chunya , Timezone 8, Hong Kong, 2010, color illustrated, p. 33
HK$ 1,200,000 - 1,800,000 NT$ 4,615,000 - 6,923,000 US$ 154,800 - 232,300
周春芽 青石圖 1993 油彩 畫布 80 x 100 cm 簽名右下：1993 周春芽 圖錄： 《周春芽》，東八時區，香港，2010，彩色圖版，頁33
"I don't know why mountain and stones have always been an everlasting theme in traditional Chinese painting, perhaps because they are symbols of the nature. The power and integrity of mountains and stones enable the painters to express adequately their spirits, as well as showing their painting techniques." 「我不清楚為什麼中國傳統國畫經常以山石作為主題，也許是因為這兩樣東西是大自然的 象徵。山石堅強而剛正不阿的形象，讓畫家可以充分表達自己的氣節，同時也能展現繪畫 的技巧。」
─ Zhou Chunya 周春芽 Ravenel
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CYAN STONE ZHOU Chunya
When the artist return to his motherland from the German city of Kassel in January of 1989, where he had paid pilgrimages to the various masterpieces he once admired in painting albums; he was deeply intrigued by aspects of neo-expressionism. Incidentally, the artist's indulgence in traditional Chinese paintings stemmed from having heard a cassette of guzhen and the pipe of a tune entitled "Border Pass Ballad", he resonates greatly with the narrative of the song about Wang Zhaojun departing her hometown and the associated feeling of being immersed in a culture that was vastly different from the one they were born in. He was inspired to further explore works of art by historical Confucians such as Bada Shanren (Fig. 1) and the four Wang, namely, Wang Shimin, Wang Jian, Wang Hiu and Wang Yuanqi. The artist even made numerous trips to photograph the Taihu and was enlightened by the breathtaking scenery. "Cyan Stone" created in 1993 epitomizes the artist's consistent endeavor in merging techniques of the Western approach with attributes derives from traditional Chinese ink paintings. In retrospect, the depiction of rocks has traditionally been a pertinent theme according to the Classical Chinese painting manual A garden as large as a mustard seed , (Jiezi yuan hua pu) of the 17th century. Traditionally, the depiction of nature and rocks take its raison d'ĂŞtre from a more scenography reality relative to the European one. The artist's have managed to extrapolate the hardness and complexity of rocks from tradition and transferred onto the canvas with an unusual medium of oil, this attribute is indicative of the artist's state of suspension between the past and the contemporary, between China and the west. The present lot is also evidential of the artist's attempt in captivating the visual elements hidden within the subject matter of rocks, simultaneously enhancing and enlarging them in form. The texture and tactility of the rocks in the lower left corner on the foreground mesmerizes the viewer with compelling oil colours and dynamic brushstrokes within multiple layers of thick and saturated black and caramel beige colours resulting in a complex structure that replaced the traditional flat visual impression of literati paintings. The artist
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applied the techniques of neo-expressionism to present the layered texture of the rocks and the form of the slender branches on the canvas, richly imbue with earthy tones that contrasts harmoniously with the airy light background that serves to amplify dimensions and the dynamic relationships between the subject matters. The artist had deliberately utilized a lot of sculptural language to soften the mildness and introversive tendencies of traditional Chinese ink paintings, treating the composition of the subject matter much like a sculpture on the canvas, whereby the artist's brush turns into the knife of a sculptor. Furthermore, the rocks have no distinctive outlines allowing the painter free rein to his imagination and a free flowing painting style is thus created by the much lighter and darker areas on the canvas. This quality of an indistinct outline can also be observed from the clouds and color blocks in Da Vinci's painting, similarly allowing the artist to accord free rein to his imagination. Likewise, the rocks are "a chance to free Zhou's pictorial impetus and to draw up energetic brushstrokes by dipping into the existing iconographic patrimony but without feeling restricted." The natural flow of the brushstrokes is not limited by the confines of any traditional stylized rules, enticing the viewer to follow a visual flow that is uniquely Zhou's. The result is a multi-faceted, lively fusion of painterly techniques that reflects the artist's personality. "Cyan Stone" becomes a means for the artist to reflect upon issues concerning western sensitivity and eastern cultures, modernity or tradition, nostalgia or avant garde limitations but simultaneous retains aspects of the spiritual heritage of the Chinese literati tradition. The structural organization of these pictorial themes pays tribute to the artist's signature stylistic approach, which predicates upon a juxtaposition between the ancient and contemporary or of traditional and revolutionary. The reinterpretation of the literati painting from an expressionist perspective, both of which are language modes where emotional expressions are directly involved in the paintings. In this regard, Zhou never fails to adhere to the beautiful, truthful aspect of life through a stylistic approach that is uniquely his.
1989年1月，周春芽由德國卡塞爾回到祖國。在異地 遊歷期間，他如朝聖般四處觀賞他曾在畫冊中見過而 嚮往已久的名作，深受新表現主義作品的啟發。周春 芽對於傳統中國繪畫的鍾愛，出乎意料地源自一盒錄 音帶 ─ 以古箏和蕭演奏的《塞上曲》。《塞上曲》描 述王昭君離鄉背井，前往一個在文化方面與故鄉大相 逕庭的地方，引起周春芽的共鳴。此外，周春芽致力 鑽研儒家藝術作品，例如八大山人（圖一），以及人 稱「四王」的王時敏、王鑑、王翬與王原祁的畫作。 他亦多次遊歷太湖，沿途拍下許多風景照，對當地的 美景為之著迷。 《青石圖》繪於1993年，見證了周春芽多年來試圖融 匯西方技法與中國傳統水墨畫而作出的努力。十七世 紀的《芥子園畫譜》指出，山石向來是中國傳統繪畫 中的重要題材。傳統上，比較歐洲同類題材的畫作， 自然景觀和山石在中國畫家筆下意境深遠，別具韻 味。周春芽運用油彩這種西方素材，在畫布上刻畫傳 統繪畫中山石的堅硬特徵，顯示出他遊走於過去與現 在、中國和西方的藝術表現形式之間。 本件拍品顯示藝術家嘗試將山石深層的特徵，轉化為 視覺元素，以藝術形式呈現在觀賞者眼前。周春芽在 前景左下角以濃黑與米黃色刻劃山石渾厚堅實的質 感，並運用層層相疊的筆觸，形成複雜的結構，令景 物具有層次感，有別於過去中國文人畫平實的畫面。 藝術家運用了新表現主義的技巧，在畫布上表現山石 多層的質感和土黃色的纖幼樹枝，與簡潔淡雅的背景 形成對比，加強不同平面上的景物之間的互動。周春
芽在作品中融入許多雕塑元素，淡化了傳統中國水墨 畫含蓄內斂的特點，彷彿手持雕刻刀在畫布上塑造主 題的形態結構，別樹一幟。 畫中的山石並無明確的輪廓，因此藝術家能充分發揮 想像力，在畫布上較明亮和較暗的部份自由地以不同 的風格作畫。事實上，達文西也常在作品中使用這種 輪廓不明確的方式描繪雲朵，在畫面上自由地發揮創 意。在此作品中，山石「讓周春芽突破一貫的畫風， 用有力的筆觸，不受限制地繪畫既有的圖像。」周氏 用筆不受任何傳統流派的規範，帶領觀者進入其藝術 世界，以其獨特的視點欣賞其畫作。在這種表達方式 下，周春芽的作品糅合了多種油畫技法，呈現多元面 貌，並彰顯了畫家的個性。周春芽藉著青石圖探討有 關西方的敏銳觸覺與東方文化、現代與傳統、懷舊與 前衛的限制等議題，同時亦持守著中國文人的傳統風 骨。 周春芽喜用強烈的色彩和奇特的對比，例如作品中用 色和形態均截然不同的狗、打扮時尚與衣不蔽體的人 物。事實上，活潑好動的狗、裸體男子、以及滿樹紅 白相間的桃花，都是周春芽藝術生涯中不同階段所偏 好的主題。在這幅作品之中，這些圖像以基於古老與 現代、傳統與革新的對比呈現，可見畫家的匠心獨 運。在這裡，周春芽以表現主義者的角度重新詮釋文 人畫作，將個人的情感投射其中，並以獨特的畫風， 表達人世間的真善美。
(Fig.1) Bada Shanren (1626-1705), Pine Tree and Rocks , Private Collection. (圖一) 八大山人（1626-1705） 《松樹與石》，私人收藏
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ZHOU Chunya
(Chinese, b. 1955)
周春芽
Peach Blossom
桃花
2011 Oil on canvas 120 x 150 cm
2011 油彩 畫布 120 x 150 cm
Signed lower right Zhou Chunya in Chinese and English,
簽名右下：2011 周春芽 Zhou Chunya
dated 2011
HK$ 1,800,000 - 2,200,000 NT$ 6,923,000 - 8,462,000 US$ 232,300 - 283,900
The composition of "Peach Blossom" has a narrating quality that magnificently illuminates a distinctive stage in Zhou's artistic career with a series of themes that he had once rigorously appear time and again on his canvas. In this instance he had integrated synthesis of a tiny pair of figures dressed in cosmopolitan ensemble underneath a peach blossom bearing flowering fluorescence pink floral that encompass a traditional sense of graceful tenderness. The delightful brushstrokes greatly compliments the luster of the oil, which dramatically enhances the overall pictorial effect. The execution is romantic and connotative of the arrival of spring when one evaluates the structural composition of the painting as a whole. In the foreground appears the profile of a canine with a wellproportioned body and a pinkish dripping tongue, rendered in romantic tones of a purplish pink that slightly contrasts with the black whiskered head of a canine that appears above it. The artist seems to be fascinated with the unbridled pure and romping energy that animals elicit and their ability to convey these sentiments in a more direct and primordial way. The naked middle aged figure walking towards the left side of the canvas is rendered without any definitive facial features, nevertheless, the gesture and the flabby body builds the soul of the character as it is suggestive of a man weathered with age and life experiences, which are qualities that would enable the figure to walk on
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indefinitely beyond the confines of the canvas and conveys a delicate sense of subjectivity. In essence, Zhou has a great passion for strong, sharp colors and unusual juxtapositions such as the isolated depictions of the canines, the clothed and naked figures depicted in the present lot. From the romping energy of the canine to the bare naked figure and the peach blossom branches bearing pale and bright pink blossoms, these elements constitute the common themes favored by the artist throughout different stages of his artistic career. 《桃花》具有敘事性質，將周春芽各個創作階段中不同而重 覆出現的主題或圖像共冶一爐，標誌著周春芽的藝術生涯邁 向新的一頁。在這幅作品中，有一對體型較小，衣著時尚的 人物站在盛開著鮮粉紅花朵的桃花下，儀態溫文爾雅。流暢 的筆觸令油彩色澤更為鮮明，使畫作生色不少。細看作品的 整體結構，不難感受到當中蘊含的浪漫情懷，以及初春的氣 色。前景身形健碩的狗側著頭，伸出粉紅色的舌頭，其浪漫 的紫粉色調身軀，與上方長有黑鬚的狗頭形成對比。周春芽 深受動物的純真與活潑吸引，並被牠們坦誠流露情感的特性 所感動。另一方面，朝畫面左方行走的裸體中年人，五官沒 有明顯的特徵，而其肢體動作與鬆垮的身體是其精神特質的 體現，在歲月磨蝕、眾多人生經歷之中練就堅強個性，能夠 邁步前路，直到跨出畫布之外，如此鋪排或是寄托了畫家主 觀的感受。
526
ZENG Fanzhi
(Chinese b. 1964)
Great Men 2005 Oil on canvas 70 x 200 cm Signed lower right Zeng Fanzhi in Chinese and English, dated 2005 EXHIBITED: ZENG Fanzhi , Hanart TZ Gallery, Hong Kong, 30 March - 16 April, 2005 PROVENANCE: Important Private Asian Collection
HK$ 5,000,000 - 8,000,000 NT$ 19,231,000 - 30,769,000 US$ 645,200 - 1,032,300
曾梵志 偉人像 2005 油彩 畫布 70 x 200 cm 簽名右下：曾梵志 Zeng Fanzhi 2005 展覽： 「曾梵志作品展」，漢雅軒畫廊，香港， 展期自2005年3月30日至4月16日 來源： 亞洲重要私人收藏
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In his early years Zeng Fanzhi established a unique personal style with his straightforward artistic expression and an artist's sharp eye for observation. He precisely grasped the inconspicuous details of life with an artist's instinct in his "Hospital Triptych" series and the "Flesh" series of the 1980s' and 90s', through which he created an astonishing visual impact. Among his works, "Hospital Triptych", the work that made his name, was the most shocking of all. It originated from real life experiences, and the artist completed it by adopting a classic subject in Western religious painting: the triptych used for describing the passion of Christ. He used this Western art form to express the state of existence of the Chinese people and the way they suffer from illnesses. This work embodies concerns for the lives of the common people and the universal sentiment of compassion. In early 1990, Zeng gave up his peaceful life in Wuhan, leaving for Beijing on his own. The interpersonal relationships in the big city and his memory of the police checking his ID gave him the impetus for the celebrated "Mask" series. This series depicts closely the anxieties of making a living in the North and incisively criticizes the hypocrisy of strangers. The "Mask" series was a huge success but also brought trouble to Zeng. To free himself from the shadow as the "Mask" painter, he decisively laid aside his success in the "Mask" series and plunged himself into the creation of the "Portrait" series. This series continues the criticism built up in the "Mask" series, yet it contains deeper reflections. The later "Portrait" creations develop in two directions: one is the "Great Men" portraits, which depict many great figures and heroes from 1960 and on, while the other is "Landscape". One technique employed is the drawing of circles on the portraits to create abstraction; while another uses scribbling to reveal the faces of heroes in the long grass or thorns of the Landscape paintings. Whenever portraits of
great figures are involved in art, there may also be suspicions of "Chinese symbolism" or "political pop." Zeng, however, interpreted his new art style in a different way. Talking about this series, he said: "No one has ever tried making art by scribbling. Scribbling is a purely abstract act, and the result is the so-called Landscape. This landscape may not be real, because there is never a model landscape in reality. In fact, these are the discoveries and creations of my own mind. They are abstract and thus require viewers to recall their own visual experiences." The "Great Men" in this auction was created in 2005. Among the scribbled portraits of great figures, this is a rare piece made on a large scale. Five socialist giants—Marx, Engels, Lenin, Stalin, and Mao Zedong—are serried on the long scroll against a background that appears to be sky. These people were the foundation and spiritual support of the Chinese socialist dream, and these "programmed" portraits were once hung on the walls of every Chinese family's house, where they influenced later generations. With the end of the Cultural Revolution and the implementation of economic reform, and under the influence of Western thought and values, the great men of the socialist spirit have long disappeared. The blue, red and yellow gradient in the background sets off the figures of the great men in the foreground. Like the gradually vanishing clouds and smoke or the sprawling thorns, they are steady and clear; dead yet not vanquished. The strokes are wild and dynamic with strong personal characteristics, full of violence and pain. Zeng sometimes paints with two hands and many brushes simultaneously. Some brushes are used to depict his thoughts and subjects, while others are used to disrupt the picture. This approach brings to fruition the unique style of his Grass series. It also blurs the portraits of these great men, which shatters their iconic status and fills these lifeless, "programmed" images with the breath of humans.
GREAT MEN ZENG Fanzhi
曾梵志早期以率真的情感表達，藝術家獨有的敏銳觸覺建立了獨樹一幟 的個人風格。1980年代至1990年代作品「協和醫院三聯畫」系列，「肉 聯」系列以藝術家犀利的直覺精準地把握了他所熟知的環境中不起眼的 生活細節，創造出震撼人心的視覺衝擊。其中尤以他的成名作《協和醫 院三聯畫》最為震撼，作品源於真實的生活體驗，運用了西方傳統宗教 繪畫的經典題材：耶穌受難下十字架所常用的三聯畫形式。他用這種形 式表現了普通中國人生病受難的的過程，借西方的形式表現了國人的生 存狀態。作品處處體現了其對普通人生活的關注和悲天憫人的普世情 懷。1990年初，曾梵志放棄了武漢平靜的生活，隻身闖蕩北京。大都會 的人情世故以及警察查身份證的特殊記憶和體驗催生了著名的「面具」 系列。畫作中對於北上謀生的憂慮，陌生人虛有其表，裝模做樣進行了 精闢入裡的諷刺描繪。 《面具系列》取得了巨大成功，也為曾梵志增添了些許煩惱。為擺脫 「面具」畫家的窠臼，他毅然放棄已有的成功，轉而投身「肖像」系列 的創作，這個系列延續了「面具」的諷刺，多了深層次的思慮。而後的 「肖像」系列逐步向兩個方向過渡：一種是「偉人像」，包含了自1960 年代起的眾多偉人和英雄，一種是他所謂的「風景」。從技法上看，一 種是在肖像上畫圈，使之抽象化；一種則是亂筆作畫，在亂草或荊棘的 「風景」中看到英雄和偉人的面孔。但凡涉及偉人肖像，難免會有「中
國符號」或「政治波普」的嫌疑。但曾梵志對自己的新畫風則有不同的 釋義。談及這個系列時，他曾說︰『亂筆作畫，前人沒有嘗試過。亂筆 是純抽象的，結果是所謂的「風景」。這風景也許不是風景，是因為從 來沒有現實中的範本。實際上是我腦子裡的發現和創造，是抽象的，需 要觀眾調動自己的視覺經驗的。』 此次拍品《偉人像》是曾梵志亂筆風格的代表作，也是他唯一一幅描繪 馬克思、恩格斯、列寧、史達林、毛澤東五人的集體肖像畫。曾梵志這 樣特別尺幅的畫作，為數極少，約三、四幅左右，乃為特殊主題而定 制。這些人曾是中國社會主義夢想的理論基礎和精神支柱。這些程式化 的偉人肖像畫曾經遍佈中國家庭，影響了幾代中國人。隨著文化大革命 的結束和改革開放，在西方的價值觀和新思潮的衝擊下，曾經的偉人和 社會主義精神已如雲煙幻滅。畫面的藍色，紅色和黃色的的背景漸變映 襯著前景亂筆中的偉人像。如漸漸消退的雲煙，又如雜亂的荊棘，清晰 而堅實，死而不僵。畫面筆觸狂亂而有動勢，帶有強烈的個人色彩，充 滿了暴力和痛苦的色彩。曾梵志有時會用兩隻手，用很多筆同時作畫。 他用一些筆來描繪想法和題材，用另外的一些筆來打亂畫面。這樣的處 理方式成就了「亂草」獨特的風格。也使得畫面中的偉人肖像朦朧不 清，從而動搖了他們的偶像地位，使得這些超越生命的程式化形象具有 人性的氣息。
527
ZAO Wou-ki
(Chinese - French, 1921 - 2013)
27.12.89 1989 Oil on canvas 100 x 162 cm Signed lower right wou-ki in Chinese and ZAO in French Signed on the reverse ZAO WOU-KI in French, titled 27.12.89, inscribed 100 x 162 cm PROVENANCE: Important Private Asian Collection The painting is to be sold with a photograph signed by the artist.
HK$ 12,000,000 - 20,000,000 NT$ 46,154,000 - 76,923,000 US$ 1,548,400 - 2,580,600
趙無極 27.12.89 油彩 畫布 100 x 162 cm 簽名右下：無極ZAO 簽名畫背：ZAO WOU-KI 27.12.89 100 x 162 來源： 亞洲重要私人收藏 附藝術家親筆簽名之作品照片
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27.12.89 ZAO Wou-ki
The Daoist theories that the universe, mountainous river scape, the magnificence of the changing forms of the various earthy elements cannot be compared to the essence when active elements become neutralized. The present lot "27.12.89", we witness a work of Zao Wouki that conveys a "sense of movement in a state of utter quietness, and movement convey through tranquility." There is a serene smooth flow that is reminiscence to one's lifetime, its delicate existence bound to experience hardships, forgiveness, but will continue on until infinity. In 1989, Zao was nearly seventy years old. His loved one were each taken away from him, pushing him towards a path of lonesome solitude, He has been enlightened as if a magical force became his company hand directed his hand in composing "27.12.89". The light and spacial dimensions of the present lot is imbued with elegant colors and unrestrained brush stokes, the
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red and black constitute aged rocks on the left of the canvas, arranged up straight, in resemblance to a mysterious creator, hidden under the clouds, adding another magnificent brushstroke on the canvas. His masterpiece is tinted with colors that belong in a fantasy, from the spreading ochre red on the right to a blanket of brown, golden yellow and grey misty grey, lightly touches upon the notion that not even an all empowering god has the ability to answer to the expectations and hopes of all people. Adjusting the focus downward, one would be greeted by the touch of a subtle pink is representative of the arrival of spring, adding an air of introspective delicacy. A soft purple moving towards the center from the left side, unconceivable timeless elegance is depicted, disperse throughout the painting. The central fierce and energetic brushstroke is analogous to a golden sheer dancing in the flowing space;
sometimes distinctively noticeable, sometimes vaguely noticeable; further interlaced with a bold golden sheen, pink, green white that illuminates a lyrical rhythm. Visible on both sides are dense black contours, derivative of the ink lines that is akin to abstraction. The central panel exhibit the striking effect of bold texture that resembles the striding knifes. Light or rough, transparent or thickness is rendered accordingly with the bold stroke or the gentle touch of the brush; enabling the black contours to lingers and playfully co-exists on the canvas. All the movement interlaced harmoniously together that ultimately lead to the birth of "27.12.89". In interaction between the light and shadow induces a grounded temporal elegance that transcend from the soft tones of the ochre and the breathtaking beauty of the golden hue. Not every artist has the talent or luck to portray a naturalistic progression that parallels the progression from the riverbank to the boundless sea. From Zao's earliest realist works to expressionist and an attempt at abstraction; as if the riverbank has weathered the cycle of the four seasons and travelled throughout the continent having finally ventured out into the boundless
sea. The riverbanks silently blend in with the big sea. The comparison is also reflective of the essence of the Taoist theory, which predicates that earthy elements are borne out of the void between heaven and the land. This "void" encompasses lively energy and creational power. Like a canyon, which may appears to be void and hollow, is in reality a source of spring water. Zao's "27.12.89" portrays the essence of one's life, which is bound to contain inevitable episodes of beginnings and goodbyes, kindness and cruelty. The present lot is truly a masterpiece as the utilization of the oil and ink traditions have fostered a sense of openness and delicate tranquility within the four corners of the canvas. In reference to works completed ten years prior to 1989, Zao had experience the pain of losing loved ones during his return to his motherland. When Zao's second wife passed away during 1972, he returned to his motherland after an absence of 24 years, he visited his father's grave who died in 1968 and travelled to Beijing, Shanghai, Hangzhou with his mother. In 1974, he travelled to Xian and went to Suzhou along with his mother, a last trip that they had together. 1975, a year that marked the death of Zao's mother, the artist once again returned to his motherland to attend her funeral. He had subsequently returned to China on several occasions and hence, was not able to engage in any artistic productions
during that time period. In 1982, the artist held an exhibition in Japan and lived in Taiwan for a short period of time thereafter. He taught at the Zhejiang Academy of Fine Arts lecture in 1985 in Hangzhou. In 1989, Zao was nearly 70 years old and had explored abstract painting for decades, had circumvent the restrained of abstraction and was able to render flowing strokes with great ease. "27.12.89" was created just a year after works exhibited at Foire Internationale d'Art Contemporain (FIAC) in 1988 and marked the artist's stylistic output of that period. "27.12.89" adheres to the remarks of René Char in 1975, who distinguished it to be Zao's third stage in his artistic development. "The final stage of his artistic development, a notable futuristic world, which far transcend the realm of desire on anyone above." (Zao Wou-ki and Françoise Marquet, An Autobiography of Zao Wou-ki , Liaoning Meishu Chubanshe,
After the pain of the past, filled his works with essences of emptiness and spirituality, the present lot seems to exhibit a lyrical quality that parallels the infinite creative power of the universe, similar to what was mentioned in "Zhuangzi" music is correlated with the beauty of Zao's work "the sound can be short or long, delicate or strong, subjected to changes."
Liaoning, 1993, p.29)
趙無極 4.4.85 1985 油彩 畫布 97 x 195 cm 羅芙奧香港 2011 秋季拍賣會，編號018，HKD 44,320,000 成交 ZAO Wou-ki 4.4.85 1985 Oil on canvas 97 x 195 cm Ravenel Autumn Auction 2011 Hong Kong, lot 018, HKD 44,320,000 sold
「萬物並作，吾以觀復」─ 老子
宇宙萬物，山河天地，絕美的景象與萬物變化絕抵不過時光匆匆兀自開 落，最終仍須返回虛靜狀態的本根。此作《27.12.89》，我們見到「靜 中有動，動中寓靜」的趙無極，其寧靜致遠，回望焠鍊生命各階段之甘 苦，從容、不著痕跡地駕馭源源不絕、蒼蒼烟雲流動的最深處，達到有 限的人生中只可模擬、冥想而不可捉摸的永恆。 1989年，趙氏已年近七十。光陰流逝不留情地帶走一個個他身邊的至 親摯愛、反倒是那催他往暮年孤身而行的「時光」，這時忽然攜起他的 手，拉他成為旅伴，與他約定做忘年的朋友。初探此幅《27.12.89》，映 入眼簾為一派祥瑞之氣，作品光影與空間，以淡雅賦色和雄渾奔放的筆 觸呈現。畫面左側由赤色、玄色構成恰似萬年奇石，巍巍矗立於此，其 又似神隱的造物者，藏身雲深一隅，為此佳作添增一筆神話色彩。由赤 玄色往右方舒展，一片糅合褐色、金黃、灰色的氤氳身影，彷彿人世間 多少虔誠期許緩緩翳入天聽。 目光由此往下，一抹恬淡的粉紅撲入逢春氣質，為畫作添增內斂的無限 嬌媚。下方一襲淡紫由左側往畫面核心蓮步移動，藏不住的矜貴雅緻， 霎時在畫作裡外瀰漫。中央磅礡粗獷的激烈筆觸有如金黃色的光芒，奔 流的空間 ，時而激昂 時而沉默，更大器顯現金色、粉紅、綠、白色等通 透層次，多塊層層疊疊的韻律，在色彩的一呼一吸中更迭。 兩側可見的黑色實密線條，在隱身的水墨線條中走向抽象，畫面中央以 刮刀揮霍呈現乾燥粗獷質感，平滑與粗糙，透明與厚稠，隨著畫筆的重 筆或輕描，一切安定閒適，使黑色不規則線條纏綿虛實相間，好似遠古 遊怡飄渺的透視。 一切的流動旅程以及紛紛擾擾彷彿都是為了這一場《27.12.89》而孕育， 光影交會的瞬間，靜默的淺褐散發出從容素樸的典雅，喚醒保有一身璀 璨來自天上的金黃與深邃渺遠的世界寵遇，令人不禁讚嘆神往。 並不是每個藝術家於一生中都有才、有幸得以入續經歷從涓涓溪流到無 垠的大海。從趙氏最早期的寫實、表現風格、到嘗試抽象，彷彿清新婉 轉的河流；最終走向嘗遍人事，歷經數十春秋更迭，走向雄偉磅礡與老 莊思想的空靈大海。青壯年這幾脈溪流無聲無息的投入晚年的大海，匯
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集了趙氏一生的精粹與感激。老子「致虛極，守靜篤」短短六字，已 將所有修道的方式與層次皆一語道盡。道家言，天地之間雖然是虛空狀 態，它的作用卻是無窮盡的。萬物皆是從這虛空之處湧現出來的，此 「虛」蘊藏生命力以及創造元素，如同山谷一般，看似虛空，卻是源源 不斷的水源聚集處；趙無極《27.12.89》也在一幅畫方寸中，將其人生 的縮影、歷經悲歡離合、人情冷暖、超脫油畫與水墨線條，在「虛」、 「空」之後凝煉出豪放開闊的胸襟與嫻雅靜美的絲絲柔情，可謂其的顛 峰之作。 回顧1989完成作品的前十多年，奔忙在故鄉路上的趙無極回到亞洲這段 遙迢的路，歷經與親人摯愛的生離死別，趙氏回到了本無一物，沉澱的 心如同波特萊爾譜寫的詩句「噴薄的旭日之光經過大海的沐浴，從深層 的海底湧上了清澈的天空」。過往種種為《27.12.89》蓄積了人生的養 分，趙無極歷經第二任愛妻美琴於1972年的逝世，回到闊別二十四年的 祖國，前往1968年去世的父親墳前致哀，之後陪伴母親到北京、上海、 杭州旅遊，共同緬懷往昔。以及1974趙氏遊歷西安，偕同母親回故鄉蘇 州，再次重溫親情的快樂，這也是母親與他此生的最後一次出遊。1975 母親過世，趙無極返國奔喪。後來他連續回國多次，也因此中斷了作畫 一段時間，為後續的創作蓄勢待發。除了返鄉中國，1982趙無極也在日 本辦展、之後於臺灣小住、1985在杭州浙江美術學院講學，1989年，年 近70的趙無極探索抽象繪畫已數十年，而得以從嚴謹克制的抽象風格中 以流動雋永的筆觸舒展開來。《27.12.89》就在趙氏甫經1988 巴黎國際 當代藝術博覽會 (FIAC) 展出的大幅作品隔年，同為創作顛峰邁向空靈的 時期。 《27.12.89》正不偏不倚呼應詩人洛內夏爾 (René Char) 在1975年所預示 的評論，為趙氏創作三階段的最後一程，它豐收神定 ，為「最後創作階 段，是一種預告未來的世界，這境界遠遠超脫於任何人的慾望之上。」 (參閱趙無極、法朗莎娃絲，《趙無極自畫像》，遼寧美術出版社，遼寧，1993年，頁 29)
過往歷經的傷痛，一顆一再被掏空和填滿的心，昇華其作品獨特的 「空」、「靈」氣質，讓趙無極的創作以更大氣的巔峰格局開展。此作 品彷彿蘊含宇宙創世紀無垠無涯的韶韻，如同《莊子》中提及的音樂 「其聲能短能長，能柔能剛；變化不一，不主故常」靜靜端詳此作，無 曲而耳歡，無言而心悅。
"If there is dry paint on the canvas, that allows me to play between the real and the virtual, the empty and the full. I want to use the time i have left to express my joy for painting" 「如果畫布上的顏料已乾，我又可以再去創造各 種各樣的虛與實、空與滿、我要以我所餘的歲 月，表達繪畫的喜悅。」
─ Zao Wou-ki 趙無極 1989 年
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Yun GEE
(Chinese-American, 1906 - 1963)
Frost in Central Park 1940 Oil on canvas 51 x 63.5 cm Signed lower left Yun Gee in English EXHIBITED: Experiences of Passage: The Paintings of Yun Gee and Li-lan , Lin & Keng Gallery, Beijing, 15 Nov. - 16 Dec., 2008 PROVENANCE: Sotheby's, Hong Kong, 27 Oct., 2003, lot 367 Ravenel, Taipei, 6 Dec., 2009, lot 037 Acquired by the present owner from the above sale Important Private Asian Collection This painting is to be sold with a certificate of authenticity issued by Lin & Keng Gallery, Taipei.
HK$ 1,500,000 - 2,000,000 NT$ 5,769,000 - 7,692,000 US$ 193,500 - 258,100
朱沅芷 中央公園冬景 1940 油彩 畫布 51 x 63.5 cm 簽名左下：Yun Gee 展覽： 「行旅生涯—朱沅芷與朱禮銀之繪畫」，大未來畫廊，北京， 展期 2008年11月15日至12月16日 來源： 蘇富比，香港，2003年10月27日，編號367 羅芙奧，台北，2009年12月6日，編號037 現藏者購自上述拍賣 亞洲重要私人收藏 附大未來畫廊開立之原作保證書
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FROST IN CENTRAL PARK Yun GEE
In 1939, Yun Gee's returned to New York from Paris for the second time as the World War II ensued. After all, New York was a thriving metropolis that was to become the center of the art world during the 1940s and 1950s. It was where Yun Gee, the transnational cosmopolite had once found his "modern" voice on his own terms during his first visit. A place where he had painted what many regard as one of his masterpieces, Wheel "Industrial New York" in 1932, a painting that was subsequently included in the mural exhibition for the 1932 opening exhibition at the new headquarter for the new Museum of Modern Art (MoMA) in the mansion formerly owned by Colonel William Barbour. The New York Times art critic Edward Alden Jellew, selected Yun gee and three others as the "finest" in the exhibition. The significant painting had since been selected into the salon exhibition in France and on display in various major galleries across the United States and Europe. In retrospect, the artist intended to build upon what he had already accomplished in hopes that it would allow him to advance as an artist. Hence, the artist actively painted, engaged in exhibitions and various initiatives in relieving war efforts during the first few years back in New York. However, what seemed to be promising in the beginning soon turned to be a constant struggle between the artist's desire to be a modernist inhabitant of the world and the forcefulness of others to deduce his artistic talents into a stereotypical orientalism. Regardless of the hardships and discriminatory maltreatments he had experienced and endured as the war progressed, his endeavor in devising an international style synthesizing aspects of modern art that is uniquely his own eventually materialized as reflected in his works and had proven to be a fruitful endeavor.
Frost in Central Park encompasses a hint of poetic lyrical flow reminiscence of the school of Paris from the early days of the artist's career while encompassing elements of expressionism practiced through out his artistic career. For most of his life, the artist painted many genre subjects
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with a modernist approach, which essentially centered upon the daily activities of ordinary people pursing work and pleasure in the streets or parks of the city. In retrospect, the artist had rendered other paintings of Central park (Fig.1), a depiction of a secluded setting void of the hustle or bustle of the city. It is very quiet. Another painting entitled West Tower from Central Park In Winter, featuring a woman walking her pet in the park near what appeared to be a squirrel burying a nut. In contrast to the aforementioned examples, the present lot seems to exhibit a romantic narrative quality that distinguishes it from the others. It was completed during the period when the artist has reached maturity in terms of his stylistic approach. In essence, it is very probably that the depiction denotes the subjective reality of the artist at the time the painting was rendered. The structural composition of the rolling landscape subtly leads to a pair of figures in winter ensembles strolling across the park amidst leafy greenery tinted with red frost, perhaps some form of derivative of the self is apparent in this instant. Upon returning to New york, the artist resided on the upper east side and would frequently visit the Central Park along with his partner, Helen Wimmer, whom he subsequently married in 1942 and had a child, Li-lan with after returning to New York from his second trip to Paris in 1939 (Fig. 2). Interestingly, the male figure next to the female companion is holding a walking stick. In an interview with the wife of Otis Oldfield, his former teacher and mentor at the California School of Fine Arts, presently the San Francisco Art Institute in San Francisco; remarked that Yun Gee would always appeared well polished and dressed in Western clothes, at times with a pipe in his mouth and a gentleman's walking cane. Coincidently, the romantic sentiment given off by the strolling couple is disrupted by the bare branches of the oak tree in the foreground that separates the space of the scene at a diagonal, creating special complexity and dimension that extends to the geometric high
"When I visited the Louvre day after day, the masterpieces there spoke to me in a language which was neither French nor Chinese but which transcended time and place. Here was something universal which had meaning for every man regardless of race or state. A painting by Cézanne or Courbet became as close to me as any of the scrolls by the Chinese masters with which I was so familiar. And I realized that East and West were not so far apart, for in their finest creative effort, there was something very much akin." - Yun Gee
rise buildings with uniformly shaped rectangular windows in the background that convey a sense of melancholy and disillusionment of the urban industrial state, further emphasized by hazy tones of grey and black. This attribute may be in association to the agony that the artist must have felt upon returning to New York in hopes of advancing his artistic career, but instead, he was tormented by an exploitative society filed with racial prejudice and discrimination that was fundamentally virulent against outsiders, particularly persons of Asian descent. The contrasting light and dark is also reflective of a solemn reality. In essence, the artist's ingenious compositional arrangement entices the viewer to follow an undulating visual rhythmic movement from the rolling landscape on which two figures are walking upon, leading to the bare branches in the foreground and the building structures in the background, all of which interweave harmoniously with each other to deliver a sense of layering and rhythmic movements on the painting. The artist
(Fig. 1) Yun Gee, Central Park, Private Collection （圖一）朱沅芷《中央公園》私人收藏
further imbued his work with nostalgic tints and shades rendered in a combination of the colors ochers, green, auburn, browns, and reds, attesting to the artist's special gift as a colorist. The present lot beautifully encapsulates the meditative effects of companionship, inline with the calmness and spirituality of the Taoist philosophy within an urban industrial setting where solitude is not uncommon. "Every sincere painting tries to find an adequate expression of its time. In expressing how people look at things and at what." The aforementioned quote summarizes Yun Gee's belief, which was vigorously practiced throughout his life as an artist. In essence, he initially painted with knowledge of cubism gained from his San Francisco teacher and dear friend Otis Oldfield's which enabled him to paint genre scenes in an avant garde style, an offshoot of cubism that Gee later theorized as Diamondism. The artist's subsequent study of Cézanne (Fig.3) and of lyricism and surrealism in Parisian art allowed him to emphasize on forms and gave his painting a new sense of clarity and order; the populist and realist style of his New York period delicately compliments his modernist approach. While the fluidity of his painting may be
(Fig. 2) Yun Gee's Family Portrait, New York, 1943-44 （圖二）朱沅芷家庭合影，紐約，1943年至1944年間
attributed partially to his calligraphic training back in Guangdong, China as a youth, which was further manifested by his later study of the works by artists such as Matisse and Pascin. These experiences in passage as a transnational cosmopolite have enabled him to develop a modernistic approach in his artistic oeuvre that is uniquely his, through which emerges his very own identity as an artist. Although for the majority of his life, he was doomed by various misfortunes and had been a victim of discrimination and bigotry as a transnational artist, but this plague may have in turn allowed him to gain insights that both strengthened and enriched his perspective. The unity of subject and form is characteristic of Yun Gee's most exciting works and his artistic productions during his New York phrase indeed attest to his superior sensitivity, as reflected through his modernist's propensity and talent in rendering the ordinary everyday things special and the ability to inject his very own subjective response in a thoroughly aesthetic piece. Yun Gee, a poet, an artist, a cosmopolite, a revolutionist, is in essence a man of broad perspective with a distinctive worldview.
(Fig. 3) Cézanne, Mont Sainte-Victoire with Large Pine, c. 1887, Courtauld Institute of Art （圖三）塞尚《聖維克山的大松樹》約1887年，考陶爾德藝術學院
「一次又一次，當我參觀羅浮宮美術館時，那裡的傑作向我傾訴，說的既非中文亦非 法文，而是一種超越語言的時間與空間。館中的作品屬於全人類，無分種族和國籍。 一幅塞尚或庫爾貝的畫對我而言，如同我熟悉的國畫名作一樣親切。我體驗到東方和 西方之間的距離沒有想像中遠，兩者在藝術創作方面其實有著極為相似之處。」
─ Yun GEE 朱沅芷
1939年，第二次世界大戰爆發，朱沅芷第二次 從巴黎回到紐約。畢竟，紐約是一個人人嚮往 的繁華大都市，亦是一個將要在二十世紀四十 至五十年代成為世界藝術中心的地方。在他第 一次造訪紐約時，他找到了自己的藝術創作路 向和方式。同時，他在這裡完成了許多令人驚 嘆的經典之作，包括1932年創作的《工業之輪 在紐約草圖》。這件作品同年在紐約現代藝術 館新總館（建物原屬威廉．巴伯上校擁有）的 揭幕壁畫展上展出，而朱氏則獲紐約時報藝評 家愛德華．亞當．傑勒 (Edward Alden Jellew) 評選為這次展覽中最優秀的四位藝術家之一。 朱氏這件作品曾入選法國沙龍展，並於歐美多 間著名畫廊展出。回顧朱氏的創作歷程，可見 他渴望能夠延續第一 次 旅 居 紐 約 時 建 立 的 成 就，躍進成為更優秀的藝術家。因此，在回到 紐約最初幾年，朱沅芷醉心創作，並參與許多 展覽以及戰後籌款活動。然而，本以為藝術前 景一片光明，能夠成為現代國際畫家，但此時 朱氏卻陷入了被外界標籤為東方主義藝術家的 困境之中。 《中央公園冬景》令人聯想起朱氏早年具有巴 黎畫派風格的作品，同時反映其一貫的表現主 義畫風。在其藝術生涯上，朱沅芷以現代主義 手法描繪生活風尚，包括人們日常工作、在城 市的街道漫步和在公園休憩的情境。朱氏過去 曾以中央公園為題材（圖一），描繪這熙攘鬧 市中遠離塵囂的一隅，顯得格外寧靜。 有別於另一幅同題材的作品《從中央公園遠眺 西樓―冬景》描繪一個女人帶著寵物在公園散
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步，《中央公園冬景》展現出浪漫故事的特 質，畫面佈局巧妙，流線狀的地形將觀眾的視 線導引到在冬日霜雪覆蓋下的叢林間結伴同行 的一對情侶身上，在敘事方面，畫家很可能在 畫作中投射了其個人經歷。回想當時，朱沅芷 重回紐約後居於上東城，與他的伴侶海倫． 威瑪 (Helen Wimmer) 經常到中央公園散步談 心。兩人後來於1942年結婚，育有一女朱禮銀 (圖二)。朱氏的經歷無疑令畫中持著手杖的男 主人翁的身份更加耐人尋味。 據朱沅芷在加州美術學院（後改名為舊金山 藝術學院）的良師益友奧蒂絲．歐菲德 (O t i s O l d f i e l d) 的妻子所說，朱氏總是穿著西服、 口中不時叼著煙斗，並手持紳士手杖。畫中的 浪漫氣氛與前景冷清的橡樹枯枝仍成強烈的對 比，橫伸的樹枝將畫面的空間對角分割，並將 觀眾的視線帶到灰黑色調的薄霧籠罩下孤寂乏 味的工業城市，這樣的情境或表達了藝術家剛 返回美國時的困苦心境 ― 未能在藝術方面有 所成就，同時飽受社會各界對外來人士、尤其 是華人的歧視，人權亦被剝削。 畫中的明暗對比亦是現實的寫照。作品的精髓 見於朱氏的精妙佈局，引導觀者的視線隨高低 起伏的地形輪廓有節奏地移動，從一對伴侶導 引向前景的稀疏樹木枝幹以及背景的高樓。前 後景在畫面上相互交織，構成層次分明而富有 動感的景象。朱氏擁有調色的天賦，他以揉合 土黃、綠、赤褐、褐和紅色的色調作畫，令畫 作充滿懷舊情懷。此作品表達了藝術家渴望與 伴侶生活的美好願景，並蘊含道家哲理中的寧 靜意境，以及工業化城市中的孤寂感。
「任何嚴謹真誠的創作，均應能適切地反映時 代 ， 傳 達 當 代 人 的 看 法，表現他們所關心的 事。」這是朱沅芷作為藝術家的宗旨。朱氏一 開 始 隨 舊 金 山 的 恩 師 兼好友奧蒂絲．歐菲德 (Otis Oldfield) 學習立體派的技法，讓他以前 衛畫風繪畫風俗畫，並將這個從立體派延伸出 來的繪畫理念定為鑽石主義。朱沅芷隨後研究 塞尚的創作手法（圖三），以及巴黎藝術流派 中的抒情主義以及超現實主義，轉而著重繪畫 的表現形式，令畫作構圖清晰，有條不紊；而 朱 氏 在 紐 約 時 持 守 的 平民主義及寫實主義風 格，則成為其現代主義表達方式的元素之一。 然而，其畫中流動多元的特質或歸功於他年輕 時於中國廣東的書法訓練，當然亦因晚期對藝 術家馬蒂斯 (Mattisse) 以及帕斯森 (Pascin) 的 作品探究而獲得啟發。 移居大都市的經歷，讓朱沅芷建立個人獨特的 現代藝術風格。雖然朱氏在其一生之中遭遇很 多 不 幸 ， 而 且 因 為 外 來藝術家的身份飽受歧 視，但這些磨難反而豐富了其閱歷，令他能洞 察萬事萬物，對人生有更深刻的體會。將作品 的主題及表現方式融為一體是朱沅芷作品中最 令人稱道的地方。他在紐約時所創作的作品足 證其對繪畫卓然的敏感度，以及傳達現代主義 者的意念。朱氏匠心獨運之作，能把一些平凡 的日常生活情境變得不平凡，從中寄托其主觀 的情感。朱沅芷，是一位詩人，一位藝術家， 一位世界公民，一位革命者，更是一位具有寬 闊視野及浩瀚世界觀的藝壇巨擘。
529
SHIY De-jinn
(Taiwanese, 1923 - 1981)
Portrait of the writer Tsao Yu-Fang (Jennifer Tsao) 1969 Oil on canvas 73 x 60.5 cm Signed lower right Shiy de jinn 1969 in Chinese PROVENANCE: Tsao Yu-Fang Acquired by the present owner from the above
HK$ 1,000,000 - 1,500,000 NT$ 3,846,000 - 5,769,000 US$ 129,000 - 193,500
席德進 作家曹又方像 1969 油彩 畫布 73 x 60.5 cm 簽名右下：席德進 1969 來源： 曹又方 現藏者購自上述來源
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PORTRAIT OF THE WRITER TSAO YU-FANG (JENNIFER TSAO) SHIY De-jinn
The woman in this painting has her long brown hair spread across on her chest. Her elegant yet subdued face suggests she is pondering some thoughts on her mind while staring off to the bottom right of the canvas. A pair of contemplating, deep eyes manifests her confidence while a graceful tint of purple eye shadow, her peach lips, white and tender cheeks serve to extenuate her gentle, delicate face. She is reminiscence of a delicate pink rose in full bloom, rising above others with her graceful demeanor. The fitted, pale green vest with a pink trim collar reveals her supple neck, slender arms, and unmistakably elegant taste in clothing. The vast and boundless blankness of the background presents another way of thinking in painting. The succinct lines and the complete composition show Shiy De-jinn's independent artistic thinking.
Tsao was a progressive woman. Poet Yin Di even said that "just a single day in her shoes can be more amazing than someone else's entire life!" After making a name for herself in the literary scene, she was said to be pursued by many famous figures, such as poet Yang Mu, writer Liu Daren, and artist Walasse Ting. This was not the first time Shiy painted a portrait for a celebrity. He was an expert portrait painter. In 1971, he made a portrait for famous artist Hsiao Chin, who specialized in abstract painting and was also a member of the Ton Fon Art Group. Literati held a special place in Shiy's heart, and Shiy De-jinn Foundation donated Shiy's paintings to the National Taiwan Museum of Fine Arts including) his oil painting "Poet", which he created in 1972, reveals once more his friendly appreciation and respect for writers and poets.
The woman Shiy portrays here is Tsao Yu-fang, (1942-2009), who is endowed with talent and beauty. Tsao was praised as the "Venus of the literary scene" in Taiwan. In her early years, she was known for her work in pure literature. In 1976, she was hailed as the "second Eileen Chang" after authoring outstanding works of prose. She was also a pioneering figure in Taiwan's feminist movement, founder of the "Pioneer Publishers" with Shi Shu-qing and Lu Hsiu-lien in 1974. Most people remember her as a "best-selling author on gender issues." She published "For the Eternal Lover," "Seven Emotions," and "Having Experienced Love" among many other celebrated books.
Ever since the rise of humanism during the Renaissance period from the 14th to 16th century, artists have painted portraits of themselves. Beginning with their own perspective, artists explore their appearance as well as the spiritual manifestation that corresponds to their external appearance. People may spend their whole life searching for a sincere "face" without any fake expression. This kind of instant light shown on the face by accident always moves an artist. A person's thoughts and feelings can be revealed through facial expressions. Painting a face seems to show a static appearance, but in fact, it is a dynamic presentation that touches people deeply. As Shiy once exclaimed, "A portrait must express its protagonist appropriately through the artist's subjective consciousness as well as
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via a long-term observation and understanding." Shiy depicts the depth of Tsao's soul through his skillful techniques. The depiction has nothing to do with the forms of the lines, but rather a sense of longing for recording an instantaneous moment in time. The action seems to be unraveling the layers, allowing the viewer to seek and discover fascinating clues and inklings of interest. The past romance of Tsao, her life, and all her memories are blended together, and are quietly laid to rest at the corner of the canvas.
SHIY De-jinn, Self Portrait, 1951, Oil on Canvas, mounted onto board, 51.5 x 43 cm Ravenel Sprig Auction 2013 Taipei, lot 639, HKD 5,906,736 sold 席德進 《自畫像》 1951 油彩 畫布 裱於木板 51.5 x 43 cm 羅芙奧台北2013春季拍賣會，編號639，HKD 5,906,736 成交
"A portrait must express its protagonist appropriately through the artist's subjective consciousness as well as via a long-term observation and understanding." 「一張畫像，要透過藝術家的主觀意識，加上長時間的觀察和領悟，才能表現 的恰如其分」
－Shiy De-Jinn 席德進
畫中女子披著一襲中分褐色長髮，略有層次的錯落胸前。靜秀臉龐若有所思往 右下方凝視，一對沉思篤定深邃無波的自信眼神、淡淡典雅的紫色眼影、蜜桃 色的嘴唇、潔淨白嫩的兩頰，勾勒起纖柔的臉龐弧線，容顏彷彿盛開的淡粉紅 玫瑰花，無限風華頓時脫穎而出。合身淺綠鑲滾粉紅領的背心露出頸項和纖細 雙臂以及藏不住的衣著品味。廣褒無邊的留白背景，呈現繪畫實景的另一個思 考。人物簡鍊的線條，完整的構圖，凸顯席德進特立獨行的藝術風格。 席德進描繪的佳人正是曹又方(1942-2009)，才貌雙全，在臺灣擁有「文壇維 納斯」的美譽。她以純文學小說進入文壇，1976年因為優秀的著作被譽為「張 愛玲第二」。她也是婦運先鋒，1974年與施叔青、呂秀蓮合辦「拓荒者出版 社」。1990年後，多數人對曹又方的印象是「暢銷兩性作家」，她曾出版《寫 給永恆的戀人》、《七情》、《走過愛情》等作品。 曹又方的作風前衛大膽，詩人隱地更說：「她的一天，比許多人的一生還要精 采！」，早期走紅台灣文藝圈時，更傳出不少名人曾拜倒她的石榴裙下，其中 不乏詩人楊牧、才子劉大任以及藝術大師丁雄泉。席德進替名人繪畫，已不是 第一次，人物肖像畫為席氏所擅長，席德進於1971年也曾經幫同為東方畫會、 專於抽象油畫的名藝術家蕭勤作肖像。席德進對於文人有著特殊的情感，在席 德進基金會餽贈國立台灣美術館收藏中包括席德進1972年創作的《詩人》油 畫，再次透露席氏對文學家、詩人的友好崇敬。 西方在十四至十六世紀文藝復興時期 (the Renaissance) 人本主義 (Humanism) 興起之後，不但藝術家開始將自己入畫，肖像畫也非常盛行。藝術家以本身角 度出發，探索其皮相，以及與皮相相依的心相。人們也許窮極一生都在尋找一 張誠摯而沒有任何裝飾表情「臉」，而這種稍縱即逝或是不經意浮起的光輝神 情，總是打動著畫家的心。一個人的所想、所念，都會從他的面部表情透露出 來，所以畫一張臉，雖然呈現的是一種看似靜態實則動態的樣貌，而它確實能 與人感應。如同席德進曾指出的：「一張畫像，要透過藝術家的主觀意識，加 上長時間的觀察和領悟，才能表現的恰如其分」。窺探席德進以自己嫻熟的方 式，探索曹又方的心靈深處，描繪的當下非關線條的形式，留下此刻紀錄的想 望，一步步抽絲剝繭，耐人尋味的迷人線索。彷彿過往曹又方的種種情愛、人 生風景、所有記憶融散其間，悄悄靜謐的安在畫布一隅。
530
JU Ming
(Taiwanese, b. 1938)
Taichi Series - Arch 1990 Bronze, edition no. 14/20 71(L) x 112(W) x 40(H) cm Engraved Ju Ming in Chinese, numbered 14/20 PROVENANCE: Hanart TZ Gallery, Hong Kong Acquired by the present owner from the above This sculpture is to be sold with a certificate of authenticity issued by Hanart TZ Gallery, Hong Kong
HK$ 1,800,000 - 2,600,000 NT$ 6,923,000 - 10,000,000 US$ 232,300 - 335,500
朱銘 太極系列 — 拱門 1990 銅雕 14/20 71(長) x 112(寬) x 40(高) cm 簽名雕刻：朱銘 14/20 來源： 漢雅軒，香港 現藏者購自上述來源 附漢雅軒開立之原作保證書
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TAICHI SERIES - ARCH JU Ming "There are distances between two objects in the 'Pushing Hands' from the past, now, I have connected those too hands, once they are connected, the flow of chi, and movements of muscles are connected and alive, becoming a single object, and are transformed to an arch." 「以前的推手，兩個個體間還有間距，而現在，我讓雙手連接起來，一 連接，氣的流動、肌肉的牽動，就相互貫通、活絡，合為一體，轉化成 拱門的造型。」
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－Ju Ming 朱銘
"Taichi Series - Arch" originally evolved from "Taichi Pushing Hands". The artist said: "There are distances between two objects in the 'Pushing Hands' from the past, now, I have connected those too hands, once they are connected, the flow of chi, and movements of muscles are connected and alive, becoming a single object, and are transformed to an arch." Far from being just a martial art, Taichi is unrestrained and graceful, the relationship of two boxers are like the Chinese Ying Yang, pushing hands between two
formed Taichi. Ju Ming was inspired by nature when he practiced Taichi, and gradually completed his world–famous Taichi Series. Among the series, "Arch" is one of the liveliest pieces of work. The uniqueness of the "Taichi Series - Arch" lies in its harmonious coexistence with the corner where it is located. It has gradually become an important component of the surroundings, integrating the Oriental philosophical thinking of the union of heaven and earth in the gardens of China. The intensity presented by the sculpture, regardless of its size, is unrestricted. Perhaps the feeling of infinite extent is a result of the spiritual character it is endowed with by Ju Ming.
「太極拱門」原本是從雙人太極推手演化而來。藝術家說：「以前的推 手，兩個個體間還有間距，而現在，我讓雙手連接起來，一連接，氣的 流動、肌肉的牽動，就相互貫通、活絡，合為一體，轉化成拱門的造 型。」 太極拳法瀟灑飄逸，你來我往之間，雙方拳者象徵著中國的陰陽兩儀， 推手的兩方又構成了太極的本體。朱銘從練太極拳中獲得自然的啟示， 1970年代後期開始專研太極造型，逐漸發表一系列蜚聲國際的太極系列 雕塑，其中「太極拱門」可謂是頗具動感的一種姿態。 「太極拱門」特別之處也在於它與其所處之角落和諧共存，並漸漸地成 為周遭中有機的構成要件，融合了中國園林天地圓融的東方哲學思想， 無論其大小，所表現的空間感都是不受限的，也許是因為朱銘賦予的空 靈氣質所致，散發出無限延伸之感。
531
LI Chen
(Taiwanese, b. 1963)
The Genuine State 2009 Bronze, edition no. 3/8 70(L) x 29(W) x 76(H) cm Engraved Li Chen in Chinese and English, numbered 3/8 and dated 2009 ILLUSTRATED: Li Chen: In Search of Spiritual Space , 2008 Solo Exhibition at National Art Museum of China , Asia Art Center, Taipei, 2008, p. 191 Greatness of Spirit: Li Chen Premiere Sculpture Exhibition in Taiwan, Asia Art Center, Taipei, 2012, p. 168
HK$ 600,000 - 1,000,000 NT$ 2,308,000 - 3,846,000 US$ 77,400 - 129,000
李真 蒙之初 2009 銅雕 版次 3/8 70(長) x 29(寬) x 76(高) cm 簽名雕刻：李真 Li Chen 3/8 2009 圖錄： 「李真─尋找精神的空間」，亞洲藝術中心 台北，台灣，2008年，頁191 「大氣─李真台灣大型雕塑首展」，亞洲藝術中心 台北，台灣，2012年，頁168
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THE GENUINE STATE LI Chen
Li Chen's "The Genuine State" portrays the purest "energy, chi, spirit" reflecting the most innocent behavior and mind. The artist believes that one has the ability to discard outside influence and return to the original state where we feel most comfortable and carefree. The figure stands with his arms and hands wide open releasing three infant forms whose gestures are content and relaxed. 李真2009年作品《蒙之初》欲傳達最單純的元素「精、 氣、神」，反應最初的純淨根源。「蒙」在此有開始、單 純之初的意思，而整個作品名稱－「開始」之初，又更加 地顯現純樸本始的意念。 世間的紛擾掩蔽了人類最基本的純淨，人們其實仍有能 力覓回與生俱來的天性。雕塑主體伸展的肢體，攤開的 雙掌，放鬆而怡然自得的神情，釋放出三尊小娃模樣的 「精、氣、神」形體，三小娃兒亮銀的色調，清透純淨， 啟迪出恬淡於世事，內心清潔無染，心中的雜質與俗念淨 除，而小娃兒們舒坦地愜意沉醉，安詳無擾的表情，雕琢 之深刻，令觀賞者感受其中，心靈隨之放鬆。
532
Tzu-chi YEH
(Taiwanese, b. 1957)
Salute to My Father and Brother 1990-1992 Oil, tempera, linen 203 x 152.5 cm Signed lower right Tzu-chi in Chinese and dated 1990-92 EXHIBITED: Majestic Island - The Development of Modern Art in Taiwan , China Art Museum, Shanghai, 22 April - 22 May, 2013 Tzu-chi Yeh Solo Exhibited - Monolog , Impression gallery, Taipei, 8 Aug. – 1 Sep., 1992 ILLUSTRATED: Tzu-chi Yeh , Venice, Impression gallery, Taipei, 1992, color illustrated, p 12
HK$ 500,000 - 1,000,000 NT$ 1,923,000 - 3,846,000 US$ 64,500 - 129,000
葉子奇 向我的父兄致敬 1990-1992 油彩 卵彩 亞麻布 203 x 152.5 cm 簽名右下：子奇 1990-92 展覽： 「美麗臺灣 ─ 臺灣近現代名家經典作品上海展」， 中華藝術宮，展期自2013年4月22日自5月22日 「葉子奇個展—獨白」，玄門藝術中心，台北， 展期自1992年8月8日至9月1日 圖錄： 《葉子奇》，玄門藝術中心，台北，1992， 彩色圖版，頁12
"The steppe horses live where the north wind blows; the birds of Yue nest in the branches of the south" 「胡馬依北風，越鳥巢南枝。」
─ from the "Nineteen Old Poems"《古詩十九首》
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SALUTE TO MY FATHER AND BROTHER Tzu-chi YEH
Tzu-chi Yeh completed this painting while overwhelmed with grief following the death of his father in 1989. In many of his portraits, Tzuchi Yeh uses a partial presentation of the subject, rather than seeking to depict the human figure in its entirety. In this painting, only the torso of the soldier is seen, viewed from an angle which suggests a young boy looking up at his father, who occupies almost the whole of his field of view, so that there is no escape from his image. The solider in the painting stands proudly erect, fists clenched, with one hand gripping his rifle and the other pressed close against his thigh. His slim figure stands at attention, with a posture that gives no indication of slackness or casual ease. The exquisitely applied dark green gives a completely different impression from the paintings of lush vegetation that Tzu-chi Yeh produced in Yuli later in his career; there is an additional sense of stability and human warmth. The way in which the light strikes the folds in the soldier's uniform, revealing that it has been worn for some time, is a tribute to Tzu-chi Yeh's painterly skill. The brash, martial tone of the painting is offset by the contrast between light and dark, suggesting the passage of time; there is also a powerful, ineradicable feeling of nostalgia. "Salute to My Father and Brother" was painted not long after Yeh's starkly realistic "Bathroom Nostalgia" series of the 1980s. In both cases, there is a nostalgic commemoration of Yeh's parents and his hometown. In 1983, Yeh had exhibited a number of realist works with soldiers as its subject matter. This painting was completed in 1992 and reflects a further refinement of techniques that Yeh had achieved during the intervening decade. Yeh's unique style of realistic composition
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closely intertwined with key aspect of human life, together with his passionate yet introspective personal philosophy, combine to create detailed, "classical" works that effectively mix the emotional, the spiritual, and visual impressions in a complex, ambiguous relationship. In his article The Traps Faced by the Unwary when Interpreting Realist Paintings â&#x20AC;&#x201C; A Case Study of Tzu-chi Yeh's â&#x20AC;&#x2DC;Bathroom Nostalgia' Series, Chang Hsin-lung noted that: "On the face of it, art whose subject matter is depicted realistically might seem to be the easiest form of art to understand. However, when creating a realist painting, the artist often adds in elements from their own philosophical outlook, adding complexity to the process of interpreting the painting. To facilitate accurate interpretation, the important thing is to distinguish between the obvious, readily apparent meaning of the work, and the meaning that the artist is seeking to endow it with." Bearing Chang's remarks in mind, Upon a closer examination of Tzu-chi Yeh's art, we can see that the significance of his work is not limited to the employment of the classical realism style of the 1990s, or to his refined, more precise brushwork; there is also an emotional power and sadness that cannot be easily explained and interprete. Through detailed analysis of the logic that underpins the paintings, it becomes apparent that the calmness of Yeh's paintings conceals an irrepressible energy, like a volcano waiting to erupt. Beneath a mountain-peak of seemingly eternal stillness there lies an immense, roiling
heat; the uncontainable feelings of nostalgia and loss could at any time erupt out of the "volcano" into the real world. For everyone and everything, being together means double happiness, and separation means double misery. After 19 years of wandering, in which he travelled from Yuli in Taiwan to New York, in 2006, like a migratory bird returning to its birthplace, Yeh finally came back to his hometown of Yuli to paint there. The soldier's erect torso in this painting seems to represent a departure from Yeh's life in New York; the painting carried an inexpressible sense of homesickness, as well as a play of light and shadow that somehow embodies the familial affection Yeh had experienced in the past. Underlying what appears on the surface to be a painting with a very serious subject matter, there actually lie a series of warm memories of family togetherness which make themselves felt in a myriad of different ways. While Tzu-chi Yeh is best-known for his still lifes and landscape paintings, this portrait of his father as a soldier is surely one of Yeh's finest works. "Salute to My Father and Brother" was selected to represent Tzu-chi Yeh's work in "Majestic Island The Development of Modern Art in Taiwan" held in April â&#x20AC;&#x201C; May 2013 at the Shanghai Art Museum, which also featured works by other noted artists such as Chang Dai-chien, Chu Teh-chun, Huang Chun-pi and Chen Cheng-po.
You never know where life will take you; this is what gives rise to nostalgia, with all its inexplicable, compulsive force. 生命皆有它不同的緣分與嚮往，無從解釋與抗拒的鄉愁也依附於此。
此作品為葉子奇父親葉創 (C h u a n g Y E H) 於 1989殤逝後，藝術家帶著沉靜悲痛的心情完 成。葉子奇在許多人像畫作中以局部描繪取代 了整體性的人物勾勒。畫面中的軍人只有被描 繪軀幹的部位，彷彿以兒子瞻望父親的角度取 景，逼近佔據觀者的視野，令人無從逃離。畫 作中的軍人雄赳赳，沒有血氣方剛緊扣的雙 拳，一手穩穩支撐槍、一手緊貼大腿，略顯消 瘦的身軀，在立正這個簡單的姿勢上一點也不 馬虎。畫面裡細膩的墨綠，乘載的和作者後期 在花蓮玉里完成的蔥蔥鬱鬱非常不同，多了幾 分沉穩與溫情。軍人衣服皺摺的光線，半新不 舊的質感都反映出藝術家的絕佳畫工，在粗獷 的軍旅基調中以前後明暗的映襯呈現肌理細膩 的時光印象，同時散發濃厚難以抹去的懷舊古 典氛圍。 《向我的父兄致敬》與冷峻寫實1980著手創作 的「浴室裡的鄉愁系列」時期相離不遠，皆在 紀念父母及雙親與原鄉土地賦予的無盡鄉愁。 1983年，葉子奇曾展出軍人主題的寫實畫作， 經過近10年的淬鍊使本件1992完成的作品更上 一層樓。葉式的寫實構圖與生命緊密結合，蘊 含情重與十分內省的人生觀，擅於將情感、心 靈、和視覺印象所共同交互產生的曖昧關係以 古典而細密的方式呈現。 張心龍曾在《寫實繪畫的解讀陷阱 從葉子奇 的浴室畫系列談起》文章提及： 「本來寫實的主題是最易瞭解的藝術，但是畫 家在表現描繪物的過程中，往往加注其個人的 哲學思想，因此便呈現出解釋的複雜性。為了
易於解讀，最重要的一點是分辨出畫面外表的 意義和畫家賦予該具物象的意義……」 從張心龍的文章再回頭細賞葉氏之作，其蘊含 的層次不限於90年代的古典寫實以及精湛縝 密的筆法，更多豐沛難以言喻的情感與哀愁， 就在思緒層層的抽絲剝繭下，我們會發現葉氏 的作品在冷冽沉著中，包藏不住的巍巍能量， 它彷彿一座未迸發的火山，看似歲月靜好的山 頭，蘊含滾燙炙熱的力量，彷彿無法抗拒的鄉 愁和思親之緒，隨時能夠撲天蓋地重整火山外 的真實世界。 天下事合則雙美，離則兩傷，在19年的浮萍生 活後，葉子奇彷彿走過一條迢遙的長路，從玉 里到紐約，從他鄉到故鄉，恰似依戀著南方的 越鳥，旅人2006年最終返回生命的原點於故 鄉花蓮創作。畫面中軍人的堅定的軀幹似乎在 流離顛沛旅美時期，偕同一言難盡的鄉愁與光 影，曾經溫柔親切的厚待了葉氏。在本件表象 看似嚴肅議題的作品，背後卻有著一道道暖暖 的親情追億，從四面八方沁出，流露出藏不住 的溫情。葉子奇常以靜物和風景為主題，這件 以父親和軍人為中心的作品更顯鳳毛麟角。 《向我的父兄致敬》今年更在葉氏所有作品中 脫穎而出，2013年4月至5月於中華藝術宮「美 麗臺灣──臺灣近現代名家經典作品上海展」 與多位名家作品例如張大千、朱德群、黃君 璧、陳澄波等共同展出。
533
HUANG Gang
(Chinese, b. 1961)
Red Star 2009 Mixed media on board 122 x 122 cm Signed lower right Huang Gang in Chinese and English and dated 2009 PROVENANCE: Eight Art Gallery, Malmö, Sweden This painting is to be sold with a certificate of authenticity issued by Eight Art Gallery, Sweden
HK$ 300,000 - 460,000 NT$ 1,154,000 - 1,769,000 US$ 38,700 - 59,400
黃鋼 紅星 2009 綜合媒材 木板 122 x 122 cm 簽名右下：Huang Gang 黃鋼 2009 來源： 八畫廊，瑞典馬爾摩 附瑞典八畫廊開立之原作保證書
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534
HE Chongyue
(Chinese, b. 1960)
何崇岳
The Tender Great Wall Beijing
北京懷柔長城
2011 C Print edition no.1/25 91 x 72 cm
2011 數位輸出 相紙 版次 1/25 91 x 72 cm
Signed lower right He Chong Yue in Chinese, and titled The Tender Great Wall in Chinese, 1/25 and dated 2011
簽名右下：北京懷柔長城 1/25 何崇岳 2011 12
EXHIBITED: Once upon a Time – A Group Exhibition of Contemporary Photography , Gallery 100, Taipei, 25 Feb. - 31 Mar., 2012 PROVENANCE: Gallery 100, Taipei Acquired by the present owner from the above
展覽： 「彼時．此刻－當代攝影聯展」，百藝畫廊， 台北，展期自2012年2月25日至3月25日 來源： 百藝畫廊，台北 現藏者購自上述來源
HK$ 10,000 - 20,000 NT$ 38,000 - 77,000 US$ 1,300 - 2,600
Born in Beijing, He Chongyue started to shoot photos and exhibit works from 1984. He used to specialize in traditional photograph, but now turns to do contemporary documentary works. In "Aging Population" series, the artist records suffering in old people's everyday life, which shows circumstance in China dominated by Authoritarianism and Consumerism. He Chongyue kicked off "The Family Planning" series in 2007, and he took the photos from family planning fliers in country area. The artist widely uses documentary images from contemporary conceptual art to reflect the social phenomenon. SELECTED SOLO EXHIBITIONS: 2008 "A Billion to One: Dictated Parenthood and the Feudal Mind" Sala Parpalló museum in Valencia , Spain 2008 "A Billion to One: Dictated Parenthood and the Feudal Mind" Vaness Art Link, Beijing 2007 "A Billion to One: Dictated Parenthood and the Feudal Mind" KIANG GALLERY, Atlanta, USA PUBLIC COLLECTIONS: China Central Academy of Fine Art (CAFA) Art Museum Guangdong Museum of Art
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生於中國北京，1984年開始攝影與展出作品。早期專精於傳 統攝影，現在轉向當代紀實性的作品。《人口老齡化》系列 作品中何崇岳用影像記錄了老人的生存狀態， 呈現在威權 主義和消費主義雙重統治下的中國現況。《計劃性生育》為 藝術家自2007年開始到鄉村拍攝計劃生育宣傳欄，以當代觀 念藝術中的記實攝影用其設定特殊的語境呈現影像中涉及到 的社會現象。 精選個展： 2008年「計劃性生育」西班牙瓦倫西亞當代藝術中心 2008年「計劃性生育」北京華藝莎藝術中心 2007年「A BILLION TO ONE」KIANG GALLERY 美國亞特蘭大 美術館典藏： 中央美術學院美術館 廣東美術館
535
HE Chongyue
(Chinese, b. 1960)
Han Feng Sui 2011 C Print edition no. 1/25 178 x 95 cm EXHIBITED: Once upon a Time – A Group Exhibition of Contemporary Photography , Gallery 100, Taipei, 25 Feb. - 31 Mar., 2012 PROVENANCE: Gallery 100, Taipei Acquired by the present owner from the above
HK$ 10,000 - 20,000 NT$ 38,000 - 77,000 US$ 1,300 - 2,600
何崇岳 漢代風燧 2011 數位輸出 相紙 版次 1/25 178 x 95 cm 展覽： 「彼時．此刻－當代攝影聯展」，百藝畫廊，台北， 展期自2012年2月25日至3月25日
來源： 百藝畫廊，台北 現藏者購自上述來源
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536
QIU Zhijie
(Chinese, b. 1969)
The Countdown of 3000 A.D. c. 2004 Stainless steel and electronic components Ø 80.0 cm The artist has made a total of three similar works in the format of this current work and each one is unique.
HK$ 70,000 - 120,000 NT$ 269,000 - 462,000 US$ 9,000 - 15,500
邱志傑 公元3000年倒計時 約2004年 不銹鋼電子零件 直徑80公分 藝術家總共創作三件相似及可單獨展出的作品，每件皆獨一無二。
"In the eyes of the Chinese literati of past centuries, the moon was an extremely poetic, artistic object. The 'natural time' that it represented was felt to stimulate a response in the human body. Today, human beings divide time up using clocks and watches; a countdown is the ultimate embodiment of the tension that runs through modern life." Qiu goes on to explain that "The work puts together one of the most romantic creations of traditional culture – three pillars designed to produce an inverted reflection of the moon – and a countdown timer, so that they complement one another. The reason for having the countdown run until such a far-off date as the year 3000 is to encourage people to not always just think about the immediate future, the next few days and the next few years; when viewed on nature's timescale, nothing is really all that urgent."
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「在中國古代文人眼中，月亮是一個很詩情畫意的實體，它 所代表的自然時間的感覺也會和人的身體形成一種呼應。而 現在的時間卻被人為地用鐘錶來劃分，其中最能體現現代生 活緊張感的就是倒數計時。」邱志傑說：「傳統當中最浪漫 的、為了看到月亮的影子而存在的三個石塔倒影和倒數計時 器放在一起，形成一種呼應。而倒計時選在無比遙遠的西元 3000年也是為了告訴人們不要老想著這幾天、這幾年的事 兒，其實在自然的時間中沒有什麼迫切的。」
537
JIANG Jianqiu (Lao Jiang) (Chinese, b. 1972)
Mr. Red - Fight No. 1 (a set of 2) 2007 Acrylic on canvas 100 x 80 cm Signed on the reverse Lao Jiang in Chinese and English, media Acrylic on canvas in English and size 80 x 100 cm , dated 2007.10
Mr. Red - No. 1 (White) 2007 Fiberglass, edition no. 3/8 32(L) x 32(W) x 16(H) cm
蔣建秋 (老蔣) 紅先生－戰鬥之一 (二件一組) 2007 壓克力 畫布 100 x 80 cm 簽名畫背：老蔣 Lao Jiang Acrylic on canvas 80 x 100 cm 2007.10
紅先生－No.1 (白) 2007 玻璃纖維 3/8 32(長) x 32(寬) x 16(高) cm 簽名雕塑左下：老蔣 Lao Jiang 3/8 2007.9
Signed bottom left Lao Jiung in Chinese and English, 3/8, and dated 2007.9
HK$ 55,000 - 85,000 NT$ 212,000 - 327,000 US$ 7,100 - 11,000
"Mr. Red" is named after the title of a song by Cui Jian, a rock and roll star. Jiang initially incarnated Mr. Red, his alter-ego, in various cartoon flash images, such as cartoon Mr. Red and aged Mr. Red, which contain the galloping train, long alleys, charming girls, heart-shaped sun and the post-modern scenes created by the classic Super Mario. The prototype of Mr. Red - Flight No.1, the oil painting work, originates from the images in the flash versions. 《紅先生》一題取自知名搖滾歌手崔健的同名曲。藝術家老蔣最初以 FLASH 動漫的形式，賦予崔健替 身「紅先生」各種形象，包括Q版、老年版。圖像內容有飛奔的列車、悠長的胡同、魅惑女郎、心形紅 太陽，還有經典遊戲《超級瑪麗》所搆成的後現代場景。油畫作品《紅先生—戰鬥 No.1》的原型，即是 來自藝術家 FLASH 版本系列的圖像。
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538
JIANG Jianqiu (Lao Jiang) (Chinese, b. 1972)
Mr. Red - Jump No. 1 (a Set of 2) 2007 Oil on canvas 80 x 100 cm Signed on the reverse Lao Jiang both English and Chinese, Acrylic on Canvas 80 x 100 cm , and dated 2007.8
Mr. Red - Stand up (Green) 2007 Fiberglass edition no. 5/8 48(L) x 39(W) x 70(H) cm Signed bottom left Lao jiung in Chinese and Enlish, 5/8 dated 2007.9
HK$ 55,000 - 85,000 NT$ 212,000 - 327,000 US$ 7,100 - 11,000
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蔣建秋 (老蔣) 紅先生－跳 No. 1（二件一組） 2007 油彩 畫布 80 x 100 cm 簽名畫背：老蔣 Laojiang Acrylic on canvas 80 x 100 cm 2007.8
紅先生－站起來（綠） 2007 玻璃纖維 5/8 48(長) x 39(寬) x 70(高) cm 簽名左下：老蔣 Laojiang 5/8 2007.9
539
SHI Lifeng
(Chinese, b. 1968)
The Puppet Player 2007 Oil on canvas 170 x 200 cm
石立峰
Signed lower right Shi Lifeng in Chinese and dated 2007
2007 油彩 畫布 170 x 200 cm
操縱玩偶
PROVENANCE: Eight Art Gallery, Malmö, Sweden
簽名右下：2007 石立峰
This painting is to be sold with a certificate of authenticity issued by Eight Art Gallery, Sweden.
來源： 八畫廊，瑞典馬爾摩 附瑞典八畫廊開立之原作保證書
HK$ 85,000 - 130,000 NT$ 327,000 - 500,000 US$ 11,000 - 16,800
Shi Lifeng was born in 1968 in Shijiazhuang, Hebei Province. He graduated from HeiBei Normal University in 1991. Many Shi LiFeng's works stick to red color as a critical theme. He discovers Chinese nobody's everyday life which is extremely busy and intense. His exhibitions cover Europe and Asia. Exhibitions from the past decade include "TAM" images exhibition in Paris; "C h i n e s e C o n t e m p o r a r y A r t 100 A r t i s t s E x h i b i t i o n" i n China Artist Gallery, Beijing, 2003; "Desolate City" Avant Photo Exhibition, 2004; "Group Exhibition of Twenty One Contemporary Artists", Beijing Hilton Hotel, 2005; "AAF Chinese Contemporary Art Exhibition", Beijing Art Seasons Gallery, 2006; "Beyond Song-Zhuang" contemporary art exhibition, Beijing, Shanghai, Shenyang, 2007; "Chinese Contemporary Art Eight Artists Exhibition", Denmark, 2007; "Stockholm Art Festival", Sweden, 2008. Beyond exhibitions, Guns N' Roses rock, a famous rock band from America used Shi's work as the "Chinese Democracy" album cover.
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生於中國河北石家莊，1991年畢業於河北師範學院。許多作 品以具批判性的紅色為主題，探索中國當下一個個為生活而 奔波緊張的縮影。 展覽遍佈歐亞，近年展覽包括：2003年「TA M」圖片展， 法國巴黎；2003年「中國當代藝術百人展」，中國北京，大 陸藝術家畫廊；2004年「荒涼城市」前衛攝影展，荷蘭鹿特 丹；2005年「當代藝術家二十一人聯展」，中國北京，希爾 頓飯店觀景廊；2006年「A A F中國當代藝術展」，中國北 京，季節畫廊；2007年「走出宋莊」當代藝術展，中國北 京、上海、瀋陽；2007年「中國當代藝術八人展」，丹麥哥 本哈根；2008年「斯德哥爾摩藝術節」，瑞典。除了展覽之 外，美國知名搖滾樂團「槍與玫瑰」曾以石立峰的作品作為 專輯封面。
540
WANG Tiande
(Chinese, b. 1960)
Digital Series 2002 Chinese ink on paper, burn marks 136 x 57 cm Signed lower left Wang Tiande in English and Chinese and dated 2002 EXHIBITED: Ground Zero Material Art Invitational Exhibition , Art Museum of China Central Art Institute, Beijing, 25 Nov. – 28 Dec., 2002
HK$ 100,000 - 180,000 NT$ 385,000 - 692,000 US$ 12,900 - 23,200
王天德 數碼風景系列 2002 水墨 焰痕 宣紙 136 x 57 cm 簽名左下：Wang Tiande 王天德 2002 展覽： 「2002中國零點材料藝術展」，中央美院美術館，北京，展期自2002年 11月25日至12月28日
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541
Tomoya TSUKAMOTO
塚本智也
(Japanese, b. 1982)
飛翔女孩
Flying Girl
2012 壓克力 畫布 162 x 130.3 cm
2012 Acrylic on canvas 162 x 130.3 cm Signed on the reverse Tomoya Tsukarmoto in English titled Flying Girl and dated 121207 2012
簽名畫背：Flying Girl 121207 2012 Tomoya Tsukarmoto
HK$ 95,000 - 120,000 NT$ 365,000 - 462,000 US$ 12,300 - 15,500
A cryptic fairytale drifts across the canvas as an airy vortex encircles the transparent gorgeous dots. Like drops of water and honey, the dots gently hold the girl so as to free her soul from the bounds of gravity, allowing her to comfortably float in the air. The present lot illuminates a sense of gentle sweetness where the magical journey begins from the hems of the girl's skirt. Tsukamoto uses the art of perspective to create a three dimensional painting. His unique colors cleverly define the lighting in the piece, giving a sense of weightlessness to the design. The piece also embodies the ambiguity of traditional Japanese art, blurring the lines between the tangible and the abstract and the depth of the figure in contrast to the background. The figure is both surreal and real, flat yet three dimensional. "Flying Girl" leaves a lot of empty space, showing a bright and transparent view with the charm of Western impressionism. The viewer can easily recognize the artist's creative design. Upon a closer examination of the painting, the eyes drift from point to point, in and out of focus. The movement between the points gives the viewer a sense of being in a fragrant forest on a peace ful afternoon. A step into this magical realm sends the viewer on a mysterious adventure across the canvas.
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畫面中恍如宿命的童話奇遇，飄然靈動的漩渦環抱輕透的嬌 豔圓點，它們又似水滴又似蜜糖，輕輕地承托住女孩，讓她 的靈魂從緊緊束縛的沉悶重力中解脫，寫意地悠遊空中。此 時裊裊芬芳、淡淡的溫柔，氣定神閒在女孩裙襬邊開啟漂浮 魔幻的旅程。 此作品構圖上為肉眼透視立體畫，藝術家以獨樹一格的繽紛 色調，巧妙安排虛實畫面結構與光線輕盈感，同時蘊含日本 美術傳統，呈現「曖昧」 在具象與抽象、人物環境前後景 深，使物體超現實又真實、既平面又立體。《飛翔女孩》多 處空間留白，呈現透亮的清新視野，幽幽帶著部分西方印象 畫派的韻味，不難意會其中的匠心獨具。 佇立細品此作，眼前繁複巧妙的失焦點與聚焦點，伴隨圓點 的流動感，霎時使人彷彿置身午後淡抹香水的靜謐森林，欲 一步步往前揭示神秘的奇遇魔幻面紗。
542
Tomokazu HIROE
(Japanese, b. 1976)
廣江友和
Space trapeze
太空飛人
2009 Oil on canvas mounted on board 53 x 91.5 cm
2009 油彩 畫布裱於木板 53 x 91.5 cm
Signed on the reverse Tomokazu Hiroe in English and titled space trapeze in English
簽名畫背：Space trapeze, Tomokazu Hiroe
EXHIBITED: Young Art Taipei Contemporary Hotel Art Fair , Asia Art Center Gallery, Taipei, 13 - 16 May, 2010 PROVENANCE: Asia Art Center Taipei Acquired by the present owner from the above
展覽： 「台北國際當代藝術博覽會」，亞洲藝術中心， 台北，展期自2010年5月13日至16日 來源： 亞洲藝術中心，台北 現藏者購自上述來源 附亞洲藝術中心開立之原作保證書
This painting is to be sold with a certificate of authenticity issued by Asia Art Center, Taipei.
HK$ 26,000 - 32,000 NT$ 100,000 - 123,000 US$ 3,400 - 4,100
Tomokazu Hiroe was born in 1976 in Tokyo. He had previously been an exchange student in Paris, France from 2010 to 2011. After finishing his B.A. degree in the oil painting department at the Musashino Art University, Tokyo in 2002, he won The 20th Holbein Scholarship in 2005. His work "Flying" received the first prize of the 3th Setagaya Art Award in 2012. Educated in Japan and French, Tomokazu Hiroe‘s works are rich in cultural diversities. In additional, he participated in various exhibitions and art fairs such as "Lonely park" in Asia Art Center, Taipei; "ART FAIR KYOTO 2011", "ShContemporary 2009" and "ART Singapore 2008".
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廣江友和1976年出生於東京，2000至2001年於法國當交換 學生，2002年於武藏野美術大學油畫系畢業。2005年獲得 第20屆 Holbein 獎學金，2012年以《飛翔》一作在第3屆東 京都世田谷區獲得冠軍獎。 廣江友和接受日本與法國繪畫藝術教育，使其作品富含多 樣的文化特質。除此之外廣江友和近年還活躍於許多展覽 以及藝術博覽會，例如2010年於台北亞洲藝術中心舉辦的 「Lonely park」、2011年的「京都藝術博覽會」、2009年 「上海藝術博覽會國際當代藝術展」、以及2008年「新加坡 藝博會」。
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Daisuke NAGAOKA
(Japanese, b. 1973)
永岡大輔
Deer Deer Falls
小鹿與秋天
2009 Graphite, ink on Paper 106 x 79 cm
2009 針筆 筆墨 紙 106 x 79 cm
EXHIBITED: Phase Transition of the Story , Project Fulfill Art Space, Taipei, 18 Dec., 2010 - 16 Jan., 2011
展覽： 「寓言的相變」盧之筠 /永岡大輔聯展，就在藝 術空間，台北，展期自2010年12月18日至2011 年1月16日
PROVENANCE: Project Fulfill Art Space, Taipei Acquired by the present owner from the above This painting is to be sold with a certificate of authenticity issued by Project Fulfill Art Space, Taipei.
來源： 就在藝術空間，台北 現藏者購自上述來源 附就在藝術空間開立之原作保證書
HK$ 24,000 - 30,000 NT$ 92,000 - 115,000 US$ 3,100 - 3,900
Daisuke Nagaoka was born in 1973 in Yamagata, Japan. He had received a MA in Fine Arts at the Wimbledon School of Arts, London in 2003. "Memories" are a pertinent theme in Nagaoka's works. He believes that through "Memories", human beings are capable of affirming emotions which we've left behind. The simple but delicate narrative in his ink and pencil painting open a dialogue between the real and surreal world. The details in nature and animals he depicts, and the way he moves his pen in tiny waves and strokes create a new boundary in art. SELECTED SOLO EXHIBITION: 2011 "Forest/Bus Stop/The Oldest Memories", hpgrp GALLERY , Tokyo 2009 "RING WONDERING" hpgrp GALLERY, Tokyo 2009 "Livers Illisbles" Yukiko Kawase Gallery, Paris. 2008 "Aimai-na-niwa" hpgrp GALLERY, Tokyo 2006 "DAISUKE NAGAOKA EXHIBITION" toriton café, Kobe
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永岡大輔1973年生於日本山形縣，2003年於倫敦溫布爾登 藝術學院取得碩士學位。永岡大輔的作品中多以「記憶」為 主軸，他認為透過「記憶」能使人類找回我們曾經遺忘的情 感。他以簡單卻精緻的墨線和鉛筆開展了現實與超現實世界 間的對話。永岡大輔以其帶有個人風格細膩的筆觸，描繪內 心想像中的大自然與動物間的對話，著實使他的藝術層次不 僅有別於一般擬真的繪畫作品，甚至帶有心靈療癒的能力。 精選個展： 2011 「 森林/公車站/最老舊的回憶」，hpgrp畫廊，東京 2009 「RING WONDERING」，hpgrp畫廊，東京 2009 「不可讀的書」，Yukiko Kawase畫廊，巴黎 2008 「Aimai-na-niwa」，hpgrp畫廊，東京 2006 「永岡大輔展覽」toriton咖啡館，神戶
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Ronald VENTURA
(Filipino, b. 1973)
Zoomanities Series Animals with Human Features (a set of 2) 2008; 2010 Fiberglass resin with acrylic polyurethane paint (unique) 31(L) x 13(W) x 17(H) cm (right) 26(L) x 11(W) x 19(H) cm (left) Signed at the tummy of sculpture Ventura 08 (right) Signed at the tummy of sculpture Ventura 2010 (left) Both sculptures are to be sold with a certificate of authenticity issued by the artist.
HK$ 30,000 - 50,000 NT$ 115,000 - 192,000 US$ 3,900 - 6,500
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羅納德．溫杜拿 動物人系列（兩件一組） 2008；2010 玻璃纖維 壓克力聚氨脂（單一件） 31(長) x 13(寬) x 17(高) cm (右) 26(長) x 11(寬) x 19(高) cm (左) 簽名雕刻腹部：Ventura 08 (右) 簽名雕刻腹部：Ventura 2010 (左) 兩件皆附藝術家開立之原作保證書
Born in Manila, Philippines in 1973, Ventura received a B.F.A at the School of Fine Arts of the University of Santo Tomas in 1993. Ventur's oeuvre has been a conscious preoccupation in treating the human body as a radical terrain from which a multitude of meanings may be derived, as epitomizes by his Zoomanities series. Finding inspirations in the early 17th century etchings of humanized animals he once saw, Ventura frequently gives his animal subjects human anatomies and vice versa. The fiber resin glass sculptures are each meticulously hand painted and signed by the artist. Over the years, his awards include, 2003 "Thirteen Artist Award, Cultural Center of the Philippines", Philippines; 2008 "Award of Excellence by the 9th OITA Asian Sculpture Exhibition Open Competition", Solo exhibitions: 2013 "Voids and Cages" Galerie Perrotin, Hong Kong, China; 2012 "Humanime", Eslite Bookstore Xinyi, Taipei, Taiwan; 2009, "Mataphysical of Skins" Tyler Rollins Fine Art, New York City; 2010 "Fragmented Channels", Primo Marella Gallery, Milan, Italy. 2009 , Blanc Gallery, Peninsula Hotel, Manila, Philippines; 2007 "Antipode - Human Study" Artesan Gallery + Studio, Singapore; 2008 "Zoomanities" The Art Centre Megamall, Mandaluyong City, Philippines. Joint Exhibition: 1999 "9th International Biennale Print & Drawing Exhibition", Taipei, Taiwan; 2001 "The 8th Annual Filipino-American Arts Exposition" Yerba Buena Centre for the Arts, San Francisco; 2004 "19th Asian International Art Exhibition", Fukuoka Asian Art Museum, Japan.
1973年出生於馬尼拉。1993年畢業於菲律賓聖托瑪斯大學。溫杜拿的 「動物人系列」以人體為創作主題，從中寄托與人體關聯的各種意念。 藝術家受十七世紀初蝕刻版畫上人性化動物造型的啟發，其作品中的動 物配以人體結構呈現，而人物則加入了動物的特徵展示。以纖維樹脂玻 璃塑造的雕塑成形後，藝術家精心地為此作品親手上色和簽名。近年 來，溫杜拿屢獲殊榮，包括2003年「菲律賓文化中心十三大傑出藝術家 獎」及2008年日本「第9屆大分亞洲雕塑藝術展公開賽優秀獎」。展覽： 2007年「對照：人類研究」，新加坡工藝藝廊工作室；2008年「動物 人」，菲律賓曼達盧永市藝術購物中心；2009年「皮膚形上學」，紐約 泰勒羅林斯藝廊；2009年，菲律賓馬尼拉半島酒店白/布蘭克畫廊；2010 年「零散頻道」，義大利米蘭瑪蕊樂畫廊；2012年「Humanime類人類． 魔幻超現實」，台灣台北誠品信義6樓展演廳；2013年「空與籠」，中國 香港貝浩登藝廊。聯展：1999年「第九屆國際版畫及素描雙年展」，台 灣台北；2001年「第八屆菲裔美國藝術博覽會」，三藩市歐巴布也那藝 術中心；2004年「第19屆亞洲國際藝術展」，日本福岡亞洲美術館。
545
Venkat BOTHSA
(Indian, b. 1961)
Enigma 153 2007 Fiberglass, (unique) 27(L) x 39(W) x 50(H) cm Signed bottom VENKAT in English and dated 2008 , titled E-153 PROVENANCE: Ravenel, Hong Kong, 1 Dec., 2008, lot 154 Acquired by the present owner from the above sale
HK$ 38,000 - 48,000 NT$ 146,000 - 185,000 US$ 4,900 - 6,200
凡卡．波沙 謎 153 2007 玻璃纖維（單一件） 27(長) x 39(寬) x 50(高) cm 簽名底部：E-153 2008 VENKAT 來源： 羅芙奧，香港，2008年12月1日，編號154 現藏者購自上述拍賣
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546
Bhagat SINGH
(Indian, b. 1965)
Dhatura Plant with Red Birds 2007 Oil on canvas 107 x 91.5 cm Signed lower right BHAGAT SINGH in English and dated 2007 Signed on the reverse ARTIST BHAGAT SINGH and titled DHATURA PLANT WITH RED BIRDS in English size 36 x 42 Inches , media OIL. PROVENANCE: Ravenel, Hong Kong, 1 Dec., 2008, lot 155 Acquired by the present owner from the above sale
HK$ 46,000 - 55,000 NT$ 177,000 - 212,000 US$ 5,900 - 7,100
巴哈哥特．西恩 蔓陀蘿與紅鳥 2007 油彩 畫布 107 x 91.5 cm 簽名右下：BHAGAT SINGH-07 簽名畫背：ARITIST BHAGAT SINGH DHATURA PLANT WITH RED BIRDS 36 x 42 Inches OIL. 來源： 羅芙奧，香港，2008年12月1日，編號155 現藏者購自上述拍賣
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Transaction Rules for Art (Hong Kong)
The following provisions are entered into by and between Ravenel Auction Hong Kong Limited, , as the auctioneer (hereinafter referred to as “the Company”) and the Seller (hereinafter referred to as the “Seller”). This Agreement is also entered into by and between the Company as the agent of the Seller and the Buyer (hereinafter referred to as the “Buyer”). The Prospective Buyer, the Buyer and the Seller must carefully review and completely agree all provisions hereunder and any revisions from time to time. The Buyer should pay special attention to Article 2, Section 5which provides limitations as to the legal responsibilities of the Company. Article 1.Definition Some of the phrases commonly seen herein are defined as follows: 1. “The Buyer” shall mean highest bidder accepted by the Company. 2. “The Prospective Buyer” shall mean any potential bidder willing to attend the auction sale hosted by the Company. 3. “The Seller” shall mean the mandator who provides the Lot and agrees to appoint the Company as its exclusive agent to sell the Lot at the Auction and participate, and cooperate, in exhibitions prior to the Auction if so required by the Company. 4. “The Lot” shall mean the item delivered to the Company to be sold in an auction, especially the single or multiple pieces of items numbered in the catalogue. 5. “Hammer price” shall mean the highest bid with respect to one particular auction item accepted by the auctioning party. 6. “The Buyer’s Premium paid by the Buyer” shall mean the fee based on a certain percentage of the Hammer price paid by the Buyer; the percentage shall be as prescribed in Article 2, Section 4a. 7. “The Reserve Price” shall mean the lowest price agreed by the Company and Seller. The Lot cannot be sold at a price lower than such price. 8. “Counterfeit” shall mean the Lot constitutes imitation and the original concept of the imitation and its overall execution result in fraud to cause deception in connection with the author, history, year, age, culture or origin of the Lot, for which the accurate description is not reflected in the catalogue and the value of the Lot on the auction day is far less than the value it should have according to the description in the catalogue. Therefore, no auction item will become a counterfeit as a result of any damage and/or any repairing in any manner (including repaints). 9. "Insured amount" shall mean the value of the insurance purchased for the Lot which the Company considers necessary under its absolute power from time to time (regardless whether such insurance is purchased by the Company). Article 2.The Buyer 1. The Company as the Agent The Company, as the auctioning party, shall act as the agent of the Seller. Except otherwise provided, items successfully sold in the auction held by the Company shall be bound by the agreement made by and between the Seller, through the agency of the Company, and the Buyer. 2.Prior to the Auction a. Authentication We strongly recommend that the prospective buyers conduct their own authentication for the items they are interested in bidding prior to the auction. We provide no guarantees to the buyer including but without limitations whether the Lot is a counterfeit or the authentication of the Lot’s certificates (with the exception of the guarantee with regard to counterfeits as defined in Article 1 of the Transaction Agreement). b. Important Notice Attention, the Prospective Buyers: As far as possible, the descriptions of auction items will mention obvious defects of the items; however, they do not necessarily include all flaws, defects, or incomplete aspects. The Company does not guarantee that the Lots on auction are in good working condition and the descriptions in the catalogue must not be construed as implying such. The description of the auction items also do not imply that the items have not gone through readjustment or repair or allude anything about the current state or storage conditions of the items. Any omission in the catalogue description regarding the current condition or the appraisal of defects in the items by no means represent that those items are in good condition, function normally, or that there will be any free repair or replacement of parts. We strongly recommend the Prospective Buyers to personally view the items for which they plan to bid before the auction itself. If a Prospective Buyer is unable to view an item for whatever reason, then in our role as a service provider, we would be more than happy to offer our opinion of an item’s special characteristics and current condition. However, the Company is not a professional restorer of the Lots; therefore, any description in the catalogue or any statement provided by the Company is purely the Company’s subjective opinion and not a statement of fact, not for representations or warranties. The Prospective Buyer completely understands and acknowledges that all of the items on auction are being sold in “as is” condition.The Company does not provide any representation or guarantee as to the conditions of any of the items. Unless otherwise stated in laws of Hong Kong, the Company does not provide any warranty with the items. c. Symbol Key The following key explains the symbol you may see inside this catalogue.  Premium Lot In order to bid on “Premium Lots” the Buyer must complete the required pre-registration application and deliver to The Company such necessary financial references, guarantees, deposits and / or such other security as The Company’s may in its absolute discretion require for your bid. The Companydecision whether to accept any pre-registration application shall be final. We recommend you complete and return the Lot pre-registration form in this catalogue in the manner required therein or contact the Company at least 5 working days prior to the relevant sale in order to process the pre-registration. Please bear in mind that we are unable to obtain financial references over weekends or public holidays. The Company will provide a special paddle number for the register of “Premium Lot”. ○ Guaranteed Property The Seller of the Lots with this symbol next to the Lot number has been guaranteed a minimum price from one auction or a series of auctions. This guarantee may be provided by the Company, by a third party or jointly by the Company and a third party. A guarantee may be in the form of an irrevocable bid provided by a third party. Third parties providing or participating in a guarantee may benefit financially if a guaranteed Lot is sold successfully and may incur a loss if the sale is not successful. If third parties providing or participating in a guarantee is the successful bidder for the guaranteed Lot, they should be required to pay the full Buyer’s Premium.
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d. Catalogue Explanations Any statement of the author, history, date, year, size, material, ownership, authenticity, origin, condition of preservation or estimated selling price of any of the Lots and certificates thereof shown in the catalogue or the authentication opinion made by the Company, or any other verbal or written statements made separately shall be solely statements of opinions and shall not be deemed the basis for the statements of actual fact. The photographs shown in the catalogue shall serve as reference only and shall not be deemed as the basis for determining the color or tone of any Lots or disclosure of the defects of such item. The estimates of the auction price shall not be deemed the price at which such item will be successfully sold or the statement of the value of the item for other purposes. Many auction items fail to maintain their perfect condition because of time and other environmental factors. Some of the explanations in the catalogue or the authentication opinions will state defects and/or the repair background of the Lots. Such information is meant for reference only. Missing information in the statements does not mean the Lot has no defects or has not been repaired. Any statement of one particular defect does not mean there is no any other defect. e. Responsibility of the Buyer The Buyer is responsible for clarifying and satisfying himself about the condition of the items and any related matters stated in the catalogue descriptions and making his/her own judgment or estimation independently regarding the items. 3. In the Auction a. Refusal of Admission The auction is held at the premises of the Company or any location where the Company has control of for the auction. The Company has full discretion to exercise the right to refuse entry to the premises for the auction or to prevent participation in the auction. b. Registration Prior to the Bidding The Prospective Buyers must fill in and sign the registration forms prior to the bidding and provide personal identification. The Prospective Buyers should also note that the Company may be requested to conduct credit checks against Buyers. c. The Bidder is the Buyer Unless a written agreement has been made upon registration that the bidder will be the agent who acts on behalf of a third person and such third person is accepted by the Company, the bidder will be deemed as the Buyer who will bear individual legal responsibilities. d.Commission Bids The Company will make the proper effort to bid for the Prospective Buyers who instruct us to bid on their behalf by using the forms attached to the explanations of the catalogue; provided, however, bid commission instructions are delivered to the Company prior to the auction. If the Company receives several commission bids for one particular item, with all bid prices being equal and of the highest bid price at the auction, priority shall be given to the Buyer whose bid commission is delivered to the Company first. Commission bids are subject to auction conditions. The situation at the auction may prevent the Company from making the bid as commissioned. This is a free service provided by the Company to the Prospective Buyers pursuant to the provisions prescribed. The Company will not be held legally liable if it fails to make the bid as commissioned. The Prospective Buyers should attend the auction in person if they wish to ensure a successful bid. e. Bid by Phone The Company will make proper effort to contact the bidder so he can participate in the auction by phone if the Prospective Buyer makes arrangements with the Company prior to the auction. However, the Company will bear no responsibilities to the Seller or any Prospective Buyer if no contact is made or any failure to participate in the auction by phone under any circumstances. f. Online Bids via LiveAuctioneers If the bidder cannot attend the auction, it may be possible to bid online via LiveAuctioneers for selected Lots to bear individual buyers’ responsibilities. This service is free and confidential. For information about registering to bid via LiveAuctioneers, please refer to ravenel.com. Bidders using the LiveAuctioneers service are subject to the additional terms and conditions for online bidding via LiveAuctioneers, which can be viewed at ravenel.com and be revised by the Company from time to time. g. Exchange Rate Conversion Board There will be an exchange rate conversion board operating at the auctions. The exchange rate is calculated at the exchange rate of the one-month future goods reported to the Company from the bank when starting business on the day of the auction. Nonetheless, the auction will still be conducted in HKdollars. The exchange rate conversion board is not absolutely reliable and for the reference only. The accuracy of either the Lot numbering shown on the board or the equivalent of the bid price in any foreign currency is not within the control of the Company. The Company will not be responsible for any losses caused by the reliance of the Buyer on the exchange rate conversion board. h. Recorded Images There is image projection in the auctions; however, errors may occur during the operation. The Company is not liable for the color accuracy of the reproduced image and whether the projected image corresponds to the item being auctioned. i. Determining Power of the Auctioneer The auctioneer has the absolute power to reject any bid, push for bids at his discretion, withdraw any auction items, separate or combine two or more auction items, and if there is any error or dispute, re-auction the items.If the auctioneer announcethe points for attention before the auction or the bidding, the Buyer shall pay attention for any announcement as its own responsibility. j. Successful Bids Under the sole discretion of the auctioneer, the fall of the hammer indicates the acceptance of the highest bid price, i.e., the Seller and the Buyer enter into a successful auction agreement. The Buyer shall be responsible to the Seller for performing the obligations and responsibility of a Buyer. 4. Following the Auction a. The Buyer’s Premium of Each Lot Payable by the Buyer (1)The Buyer should pay the hammer price and, in addition, the Buyer’s Premium to the Company. For hammer price below HK$ 8,000,000 (inclusive), the Buyer’s Premium should be calculated at 20% of the hammer price. (2)For hammer price higher than HK$ 8,000,000, total amount of the Buyer’s Premium should be that the first HK$ 8,000,000 of the hammer price should be calculated at 20% and the rest of the amount of the hammer price should be calculated at 12%. b. Taxes All the payments payable by the Buyer to the Company do not include any government tax any commodity or service taxes or any other value added taxes. The Buyer should be responsible for paying any applicable taxes as required by the law. c. Payment The Buyer should provide his name and permanent address to the Company upon the successful bid. Relevant bank information, including but without limitations the payment account, should also be provided upon request. All payments due (including the hammer price,
Buyer’s Premium and any applicable taxes) should be paid within 7 days following the auction date. The aforesaid provision also applies if the Buyer intends to export the Lot and (may) need the export permit. If the Buyer fails to pay to the Company all the payments due, the Buyer will not acquire the ownership of the Lot even if the Company has delivered such item to the Buyer. If the payment to The Company are made in any currency other than HK dollars, the Company will collect from the Buyer any foreign exchange expense incurred therefrom, including bank charges and foreign exchange Buyer’s Premiums. The exchange rate of the payments to the Company in any currency other than HK dollars should be the exchange rate reported by the Hong Kong and Shanghai Banking Corporation (HSBC) to the Company on the auction date and should be based on the certificates issued by the Company according to such exchange rate. d. Collection of the Lot Sold Unless otherwise agreed by the Company, the Company will hold temporarily the successfully sold Lots until all payments to the Company are made in full. The Lot will be covered by the insurance of the Company from the auction date for 7 days during the temporary holding period. The insurance coverage will terminate upon earlier collection of such item. The Buyer should be responsible for all risks following expiration of the said 7-day period or the collection (whichever is the earlier). e. Packaging and Transportation The Buyer is requested to note that he should bear all the risks after expiration of the said 7 days period or from collection of such items(whichever is the earlier), without prejudice to the Company’s right. f. Referral of Packaging or Transportation Companies The shipping department of the Company may act as the agent of the Buyer to arrange for delivery. Although we can refer freight forwarders upon special request, the Company will not be held liable for any legal responsibilities in this regard.And the Buyer shall prepay the freight charges. g. Remedies for Non-Payment of Items Sold The Company is entitled to exercise one or more of the following rights or remedies if the Buyer fails to make payment within 7 days following the auction date: (1)An interest at the annual rate of no higher than 10% plus the base interest rate of Hong Kong and Shanghai Banking Corporation (HSBC) will be imposed on all of the payment due if payment is not made within 7 days following the auction date. Besides, we have the right of charging also 1% selling price (including of hammer price and the commission) multiplied by the number of delayed days as fine for the default. The payment to be made by the Buyer mayoffset any payment owed by the Company or its subsidiaries to the Buyer for any other transactions upon the Company’s sole decision. (2)To exercise lien of any items owned by the Buyer and held by the Company for any purposeincluding but without limitations other transactions. The Company may arrange to sell such items after serving a 14-day notice to the Buyer about his non-payment. The proceeds shall make up for the payment due. (3)If the Buyer owes the Company several payments as a result of different transactions, the payments will setoff any payments due in any particular transaction, regardless of whether the Buyer specifies to setoff such payments. (4)Refuse the Buyer to make, or to make on behalf of others, bids in any future auctions and/ or to require a security deposit from the Buyer before accepting any future bids from him. If the Buyer fails to make payment within 35 days, the Company is entitled to exercise one or more of the following rights in addition to the aforementioned: (a)To bring legal proceedings against the Buyer on behalf of the Seller to claim the entire payment due and the legal fees and attorney fees resulting from such proceeding based on a total claim. (b)Cancel the transaction of Lots bid by the Buyer or any other auction items sold to the Buyer at the same or any other auctions. (c)To arrange a public or private re-sale of the Lot. If the re-selling price is lower, the difference will be claimed against the Buyer together with any cost incurred as a result of the non-payment by the Buyer. h. No Collection of the Lot Sold The Company will arrange for the storage of the Lot if such item sold is not collected within 7 days following the successful auction, regardless of payment. Such storage cost will be borne by the Buyer. Only when the storage, shipping, insurance cost and any other expenses together with any other payments due to the Company are paid in full can the sold Lot be collected. i. Export Permit Except where otherwise agreed in writing by the Company, the fact that the Buyer’s wishes to apply for an export permit does not affect the Buyer’s responsibility to make the payments in 7 days following the auction date; nor does it affect the Company’s right to impose interest on delayed payments. If the Buyer requests that the Company applies for the export permit on his behalf, the Company is entitled to collect monies made in connection with such an application and any miscellaneous expenses together with any relevant value added taxes. If the Buyer makes the payment regardless of the fact that an export permit is needed, the Company is not responsible for returning to the Buyer any interest or other expenses incurred therefrom. 5. The Legal Responsibility of the Company The Company is responsible for returning payment to the Buyer pursuant to Article 2, Section 6. Otherwise, whether the Buyer, the Company, any employees or agents of the Company will not be held liable for any statements of the author, history, date, year, ownership, authenticity or origin of any auction item or any errors with respect to any explanations and any flaws or defects of any auction item. The Buyer, the Company, the employees or the agents of the Company make no guarantee impliedly or explicitly with respect to any auction items. Any warranty of any kind shall not be included herein. 6. Return of Payments for Counterfeits The transaction will be cancelled and payments made before remit to the Seller will be returned to the Buyer if the Lot of the Company is confirmed to be a counterfeit by the professional appraisal party agreed and recognized by the Company in writing. However, if: a. The catalogue explanations or the notice at the auction distributed on the auction day corresponds to the opinions generally accepted by the academic or professional fields or explicitly indicates it conflicts with the opinions generally accepted by the academic or professional fields; or b. The method used to prove that the Lot is a counterfeit is a scientific procedure not generally accepted for use before the publication of the catalogue or a procedure unreasonably expensive on the day of the auction, or impractical, or may cause damage to the Lot; the Company is not liable for the return of any payment under any circumstances. In addition, the Buyer’s payment can only be refunded when the following terms are met: 1. The Buyer must notify the Company in writing within 10 days following the auction day that he considers the relevant auction item a counterfeit. The Buyer must return the Lot to the Company within the following 14 days after notice and the said notice and the condition of the item must be the same as on the auction day and without any damage. 2. Upon returning the Lot, the Buyer must present evidence as soon as possible to convince the Company that the Lot is a counterfeit (The Company has the final and sole discretion and decision and such decision shall not be objected in this regard). The Buyer may also assign the good ownership of the Lot to the Company, which shall not concern any third party claim.
Under no circumstances is it necessary for the Company to pay the Buyer an amount more than what the Buyer pays in connection with the Lot and the Buyer can not claim interests. The interests of the warrantee cannot be assigned and belong solely to the Buyer who receives the original invoice on which such Buyer’s name is recorded from the Company when the Lot is sold. Such Buyers shall remain the owner of the auction Lot and cannot assign any interest of the Lot to any other person. The Company is entitled to ascertain that the Lot is not a counterfeit based on a scientific procedure or any other procedure, regardless of whether such procedure is being used on the day of the auction.If the result of appraising and verifying whether the Lot is a counterfeit by the Company conflicts with the evidence provided by the Buyer, the Company’s said result shall prevail over the evidence provided by the Buyer. Article 3.The Seller 1. The Company as the Agent The Company acts as the agent of the Seller at a public auction. The Closing Agreement of the Lot is the agreement by and between the Buyer and the Seller, through the agency of the Company on behalf of the Seller. The Seller shall be responsible to the Buyer for performing the obligations and responsibility of a seller. 2. Expenses The Seller shall bear costs relating to the following: a. Packing of the Lot and shipping to the Company for the auction b. Any applicable shipping insurance c. The packaging and shipping if the item is delivered back to the Seller. Any applicable custom duties d. Insured under the Company art relic insurance policy (explained in detail later) indicate cohere (we point below) e. Any repairs made to the Lot as per prior agreement with the Seller f. Authentication made by independent professionals appointed by the Company which the Company believes to be necessary in preparing the catalogue explanations. g. Any independent professional opinions appointed by the Company which the Company deems proper h. The storage, loading and unloading and custody of the Lot after the auction (if applicable) i. The administration cost of the Company reaches the total amount of 10% of all the expenses and 10% of the damages incurred as a result of client services provided. j. Any marketing and promotional expenses 3. Insurance Coverage to be Arranged by the Company a. Unless otherwise agreed by the Company, the Lot will be automatically insured under the the Company art relic policy in the amount as deemed appropriate and estimated by the Company. However, the insured amount is not the amount the Company undertakes to be successfully reached during the auction. b. The Company will collect 1% of the hammer price from the Seller or 1% of the Reserve Price if the Lot is not successfully auctioned as the insurance fee. If the shipping is arranged by the Company, an additional amount will be collected by the Company from the Seller as the shipping insurance. Such amount varies depending on the individual condition of each auction item. The Company will refer a freight forwarder if necessary. However, in no event shall the Company be not responsible for any legal responsibilities and liabilities incurred therefrom. c. The Lot will remain insured up to 7 days after the auction date. If the Lot has not been sold, it will be at the Seller’s risk upon the expiry of 7 days. d. We are unable to accept responsibility for damage caused by woodworm or changes in atmospheric conditions, moisture, force majeure or unforeseeable conditions, or any reason not attributable to the Company. 4. Insurance Purchased by the Owner If the Seller instructs the Company specifically that it is unnecessary to purchase insurance for the Lot, the risks shall be borne entirely by the Seller until the Buyer makes all the paymentsand the Lot is delivered to the Buyer. The Seller must indemnify the Company, the employees and agents of the Company and the Buyer (if applicable) any claims in connection with the auction against the Company, the employees and agents of the Company and the Buyer, regardless of the cause of such claim, without any conditions. The Buyer must be responsible and also pay for the expenses incurred as a result of such claim if requested by the Company, the employees and agents of the Company and the Buyer, even if such expenses are made as a result of negligence by the Company, the employees and agents of the Company and the Buyer without proof of legal responsibility. The Seller must informby himself/herself the underwriter of the Seller the provision herein. 5. Commitments Made by the Seller with Respect to the Lot The standards for the Company to handle the Lots are provided hereunder. These standards also stipulate and limit the sale relationship between the Seller and Buyer. In the event such standards are incorrect in any aspect, the Company or the Buyer may bring legal actions against the Seller. The Company should base the purchase and handling of auction items on the following undertaking made by the Seller: a. The Seller is the only legal owner of the Lot and has the unlimited rights to assign his ownership to the Buyer which should not concern any third party right or claim (including but without limitations copyright claims, liens, mortgage). b. The Seller complies with all the laws in connection with the import and export of auction items and any other laws and has notified the Company in writing any failure to comply with such rules in the past. c. The Seller has notified the Company in writing of any major modifications in the Lot to the best of his knowledge and any concern the third party has raised with respect to the ownership of the Lot and the condition. In the event of any inaccuracy of the above a, b and c now or in the future, the Seller must guarantee, if requested, to identify fully the Company and/or the Buyer all the claims, legal fees, attorney fees or other costs and expenses arising herefrom, whether caused by the Lot or the auction proceeds. 6. Auction Arrangements a. The Company has absolute discretion over the description of the auction in the catalogue, display layouts, authentication opinions, location and method of the auction, who will be allowed to bid and the acceptance of the bid price, whether to seek professional opinion and whether to combine or separate the Lots. b. Any price estimates, whether verbal or written are strictly opinions and shall not serve as a guarantee of the final price for the Lot to be sold. c. The Seller cannot withdraw the sale of the Lot without obtaining the prior written consent from the Company. The Company reserves the right to withdraw, suspend, or terminate the sale and authorization of the Lots for the following reasons. These reasons include: 1. The Company is doubtful about the definition or authenticity of the Lot or the accuracy of the statement referred to in Articles 5a, b. or c; or 2. Any violations of the Transaction Agreement; or 3. The Company deems it inappropriate to include the Lot in the auction.
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d. Withdrawal of Mandate or Authorization (1)The Seller may not withdraw, suspend or terminate his/her/its mandate for the Item(s) or the authorization to the Company under this Agreement without prior written consent of the Company. (2)In the case of such withdrawal, suspending or termination stated in paragraph A, the Seller shall pay the Company an amount equivalent to 40% of the Reserve Price as punitive damages in addition to the compensation for damages or economic loss to the Company. (3)In case of default or breach of this Agreement, the Company may cancel or terminate this Agreement anytime and the Seller shall also pay all costs and expenses incurred by the Company under this Agreement. 7. Auction Rules a. The Company will auction the item according to the Reserve Price. The Reserve Price may not be higher than the minimum of the estimates set in the catalogue except otherwise if the Reserve Price agreed is in a currency other than HK dollars and the ReservePrice is higher than the minimum of the estimates caused by the exchange rate fluctuation between the Reserve Price agreement day and the auction day. Under such circumstances, except where otherwise agreed by the Company, the ReservePrice shall be in HK dollars calculated by the exchange rate at the closing of the market the day immediately before the successful auction. b. If the bid price is lower than the ReservePrice, the Company is in no way to be held liable; however, the Company is entitled to auction the item at a price lower than the ReservePrice. If the Company so auctions the item, the Company is responsible to pay the Seller the difference between the closing price and the ReservePrice. c. The Seller may not increase the price with his own or other third parties’ name, nor participate in the bidding of his/her/its auction item(s)with his own or other third parties’ name, however, The Company is authorized to bid on behalf of the Seller at the price not higher than the Reserve Price. 8. After the Successful Auction a. Settlement Upon the successful auction, the Company will request the Buyer to make full payment no later than within 7 days following the auction date, including the compensation payable by the Buyer. Upon payment by the Buyer, unless the Company receives a notice claiming such auction item is a counterfeit (as defined in Article 2 of the Transaction Agreement) or other necessary conditions, the Company will remit to the Seller within 60 workdays following the successful auction day an amount equal to the closing price taking away all the expenses payable by the Seller. In the event the Buyer delays the payment, the Company will remit to the Seller within 7 workdays following the payment in full by the Buyer. Unless otherwise instructed by the Seller in writing, the Company will make its payment in HK dollars. If the Seller requests to pay in currencies other than HK dollars, the exchange rate should be according to what the Hong Kong and Shanghai Banking Corporation (HSBC) reports and the Company announces on the auction date. b. Closing of the Transaction and Handling Fee (1)The transaction is closed when the Buyer has paid the Company in full after the auction. (2)The handling fee is payable to the Company after the closing of the transaction. c. Non-payment by the Buyer If the Buyer fails to make all the payments due within 7 days following the auction day, the Company is entitled to negotiate special terms in connection with the payments, storage, and insurance on behalf of the Seller and act as deemed necessary by the Company to collect payments payable from the Buyer.Any and all damages, costs, expenses or fees incurred shall be borne by the Seller. However, the Company is not responsible for making payment to the Seller nor for bringing any legal actions on behalf of the Seller. The Company will discuss with the Seller to adopt appropriate actions to claim auction payments from the Buyer. d. Counterfeits If the Buyer convinces or make the Company doubt that the Lot is a counterfeit (as defined in Article 1 of the Transaction Agreement) or stolen good or involved in any illegality within ten (10) days after the Buyer settles all payments and collects the Lot from the Company, the Company will return the hammer price (The Company may deduct the reasonable expenses and fees incurred) received from the Buyer and the Lot will be returned to the Seller or forwarded to the Police for handling. The Seller shall not object to the Company’s decision and handling in accordance with this Lot and make any claim or allegation. The Company will notify the Seller of such matter and the Seller shall return to the Company without objection the entire payment received within three (3) days of such notification, and shall pay the Company fees and expenses, and any and all losses, damages or related expenses and fees. In case that the Seller’s failure of payment and compensation obligations, the Seller shall pay the interest for delay of the entire payment by the best saving rate of the Hong Kong and Shanghai Banking Corporation (HSBC)plus ten percent (10%) per annum. In addition, the Company may collect one percent (1%) of the total amount of the hammer price plus the Buyer’s Premium paid by the Buyer as the compensations for breach of contract. The Company may decide to offset the Seller’s payment payable to the Company from the Company’s or other subsidiaries’payments due to the Seller in other transactions. e. Items Not Successfully Auctioned (1)Any items not successfully auctioned, not included in the auction or withdrawn from the auction for any reason must be collected by the Seller within 35 days upon notification by the Company to the Seller that he must reclaim the Lot. (2)A storage fee of HK$300 per day per piece will be imposed on each item not collected after such 35 day period together with an additional charge for purchasing insurance coverage. The Seller may not reclaim such item until all the payments due are made. (3)Such items may be removed to a third party warehouse if not collected in 60 days after the notification of collection is issued. The expenses arising therefrom shall be borne by the Seller. (4)The Company may dispose of the Lot in the manner it deems appropriate if such item is not collected within 90 days following the auction date or the notice date (whichever is the earlier). Such disposal includes removing the item to a third party warehouse with the associated expenses borne by the Seller and to auction such items under terms deemed appropriate by the Company (including the terms of estimates and the ReservePrice). The Company will pay the Seller the auction proceeds after payments owed are offset. (5)The Company is authorized to act as the sole agent of the Seller within 2 months following the auction for any auction item withdrawn from the auction or not sold. The Company may auction in private the item based on net amount the Seller may receive (the amount after deducting all the expenses payable by the Seller) or sell such item in private at a lower price agreed upon by the Company and the Seller. The Company has the rights to offset all expenses payable by the Seller in advance. Under such circumstances, the Seller’s responsibilities and liabilities to the Company are the same as during an auction. 9. Photographs and Display The Seller agrees the Company have rights to make the photographs, illustration, recordings and other reproduced images of the Lot. The Company owns all rights to the photographs, illustration,recordings and other reproduced images of the Lot made by the Company. All the rights(including but without limitation the copyright) of such images shall belong to the Company and the company is entitled to use such images in any manner it deems appropriate,and the Seller has no objection.
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10. Taxes a. According to the tax laws of Hong Kong, The Company shall submit to the competent revenue agency the name of the Sellerand other relevant documents supplied by the Seller. b. If the Seller is a Hong Kong resident (corporation or individual), according to the tax laws of Hong Kong, no withholding amount of the profit tax will be deducted. However, The Company shall reserve the rights to claim for the tax amount and other related expenses (including but not limited to interests, penalty) from the Seller if the representation made or document provided by the Seller is not true. c. Where the Seller is a foreigner, the Seller agrees that The Company may deduct an amount equivalent to 0.5% of the hammer price or the Reserve Price (if the Reserve Price is higher than hammer price) and submit the deducted amount as Profits tax to the competent revenue agency. The amount to be withheld by The Company shall be subject to change once the applicable tax rate is adjusted. Article 4.Terms Applicable to Both the Buyer and the Seller 1. Intellectual Property Rights Intellectual property rights (including but without limitations, the copyright or patent) of all the images, photographs and written material in connection with the Lot shall maintain and belong to the Company at any time. The Buyer or any person may not use such items without obtaining prior written consent from the Company. 2. Notices All the notices distributed according to the Transaction Agreement herein shall be made in writing. Any notice shall be deemed served to the recipient on the second day following delivery if sent by mail. If the recipient is abroad, the notice shall be deemed served on the fifth working day following delivery by mail. 3. Severability a. If any part of the Transaction Agreement is deemed invalid, illegal or unenforceable by any court, such part can be ignored and the rest of the Transaction Agreement continues to be valid and enforceable to the maximum extent permitted by the law. b. The conditions of the Buyer under Article 2 exclusively apply to the relationship between the Company and the Buyer, which the Seller shall not apply. And the conditions of the Seller under Article 3 exclusively apply to the relationship between the Company and the Seller, which the Buyer shall not apply. 4. This Agreement is entered into the parties in English and Chinese. If there is any conflict with two versions, the Chinese version shall prevail. 5. This Agreement may be revised or modified by the Company from time to time, and the Prospective Buyer, the Buyer andthe Seller agree to obey the revision or modification. 6. Jurisdiction The Transaction Agreement is governed under the Hong Kong laws and the interpretation and effect of the Rules shall be subject to the laws of Hong Kong. The Buyer and Seller shall submit themselves to the exclusive jurisdiction of the Hong Kong courts for the interests of the Company.
香港藝術品業務規則
本業務規則，為羅芙奧香港拍賣有限公司 (「本公司」)作為拍賣公司與賣家訂立合約之條 款，亦作為賣家之代理人與買家訂立合約之條款。準買家、買家及賣家務須細讀各項規則並 完全同意遵守本業務規則。準買家、買家請特別留意第二條第5項，其對本公司之法律責任作 了限定。 一. 本業務規則所用詞彙之定義 在本業務規則中，某些常用詞彙需加以解釋。此等詞彙定義如下： 1.「買家」：指本拍賣公司所接受之出價最高之自然人或法人。 2. 「準買家」：指任何有意參加本公司舉辦拍賣之任何自然人或法人。 3. 「賣家」：指將拍賣品獨家委託本公司於本公司舉辦之拍賣會參與拍賣之自然人或法人。 4.「拍賣品」：指交予本公司以供拍賣出售之物品，尤其在任何目錄內以任何編號描述之一 項或多項物品。 5.「落槌價」：指本拍賣公司就某一拍賣品而接受之最高出價之價款。 6.「買家佣金」：指買家按拍賣落槌價之某一百分比而支付之費用；收費率如第二條第4a項 所列。 7.「底價」：指本公司與賣家協定之最低價格，拍賣品不能以低於該價之價格售出。 8.「膺品」：指拍賣品構成模仿，而模仿之原構想及其整體執行均具有欺詐意圖，以就拍賣 品之作者、來歷、年代、時期、文化或來源進行欺騙，而對此等事項之正確描述並未在目 錄之描述上反映出來，而拍賣品在拍賣當日之價值，遠低於按照目錄之描述所應有之價 值。按此定義，任何拍賣品均不會因為有任何損壞及／或任何形式之修整而成為膺品。 9.「保險值」：指本公司不時按其絕對決定權認為拍賣品所應購買之保險之價值（不論保險 是否由本公司安排購買）。 二.買家 1. 本公司作為賣家之代理人 作為拍賣公司，本公司以作為賣家代理人之身分行事。除另行協定外，在本公司之拍賣中 成功拍賣之物品，即產生賣家通過本公司之代理與買家達成之合約。 2.拍賣前 a. 鑑定物品 本公司鄭重建議，準買家應於拍賣進行之前親自鑑定其有興趣競投之物品。除香港法例 (如商品說明條例)另有規定外，本公司不會就拍賣品及其證明文件之真偽對買家作任何 保證。 b. 拍賣品狀況之重要注意事項 請準買家注意，在可能的範圍內，目錄中對於拍賣品特性上之描述，皆已提及顯著的損 壞，惟不包括所有的缺陷、瑕疪與不完整。對任何拍賣品之描述亦不應視作表示其無經 過重整或修理，亦不應視作對拍賣品狀態或保存情況的陳述或保證。在目錄中若有狀態 陳述的缺乏或損害鑑定的缺乏，並不代表拍賣品是為良好狀態。本公司鄭重建議，準買 家在拍賣進行之前，對於有興趣競投之拍賣品狀況應經由親自檢閱，不應依據目錄中的 描述或陳述，因為任何在目錄中所列出的描述或陳述是為純粹本公司的主觀意見，並非 提供聲明或擔保。準買家知悉並瞭解所有拍賣品均以「現狀」售出。除香港法例(如商 品說明條例)另有規定外，本公 司對於任何拍出之拍賣品狀態不作任何承諾或保證。 c. 符號表示 以下為目錄中所載符號之說明 高估價拍賣品 為對「高估價拍賣品」（ ）作出競投，買家必須填妥拍賣品預先登記表，並向本公司 交付所需的財務狀況證明、擔保、存款證明及／或本公司可絕對酌情要求買家為競投須 作出的其他抵押。本公司對是否接受任何預先登記申請有最終決定權。本公司建議買家 在有關拍賣日期至少五個工作日前聯絡本公司，以進行預先登記。請注意本公司不能在 週末或公眾假期期間取得財政狀況證明。「高估價拍賣品」登記競投者，本公司將提供 特殊的競投牌號參與競投。 ○ 保證項目 拍賣品編號旁註有○ 符號者，表示賣家已取得本公司保證，可在一次或一連串拍賣中得 到最低出售價格。此保證可由本公司、第三方或由本公司與第三方共同提供。保證可為 由第三方提供之不可撤銷競投之形式做出。若保證拍賣品成功售出，提供或參與提供保 證之第三方可能會取得財務利益；惟銷售不成功時，則可能會產生虧損。若提供或參與 保證之第三方成功競投保證拍賣品時，他們仍需支付全額的買家佣金。 d. 目錄說明 本公司於目錄或鑑定意見書內對任何拍賣品及其證書之作者、來歷、日期、年代、尺 寸、材質、歸屬、真實性、產地、保存狀況或估計售價之陳述，或另行對此等方面之口 頭或書面陳述，均僅屬本公司主觀意見之陳述，不應依據為確實事實之陳述，亦不應視 為本公司對於任何拍賣品之狀態所作之承諾或保證。目錄圖示亦僅作為參考而已，不應 作為任何拍賣項目之依據，藉以決定其顏色或色調，或揭示其缺陷。拍賣價格之估計， 不應依據為拍賣品會成功拍賣之價格或拍賣品作其他用途之價值陳述。 許多拍賣品基於其年代或性質，使其未能有完美之狀況，目錄內有些說明或鑑定意見書 會提述拍賣品之損壞及／或修整資料。此等資料僅作為參考而已，如未有提述此等資 料，亦不表示拍賣品並無缺陷或修整，如已提述特定缺陷，亦不表示並無其他缺陷。 e. 買家之責任 有關拍賣品之狀況以及目錄說明所提述之事項，買家有責任自行查明並了解，並就拍賣 品為自己獨立之判斷及評估，確使自己感到滿意。 3.拍賣時 a. 拒絕入場 拍賣於本公司之場地進行，或於本公司為拍賣而具有控制權之場地進行，本公司具有完 全之決定權，可行使權利拒絕任何人進入拍賣場地或參與拍賣而無須作出任何解釋。 b. 競投之前作出登記 每一準買家在作出競投之前，必須填妥及簽署登記表格，並提供身分證明。準買家應注 意，本公司通常會要求對買家作出信用核查。 c. 競投者為買家 競投者將被視為買家而須承擔獨立之法律責任，除非登記時已經與本公司書面協定，競 投者僅為第三人之代理人，且該第三人須為本公司所同意接受者。
d. 委託競投 如準買家使用印於目錄說明之後之表格指示本公司代其競投，本公司將盡適當努力代 其競投，但代為競投指示須於拍賣前送抵本公司。如本公司就某一拍賣品而收到多個 委託競投之相等競投價，而在拍賣時此等競投價乃該拍賣品之最高競投價，則該拍賣 品會歸其委託競投最先送抵本公司之人。委託競投之承擔受拍賣時之其他承諾所限， 而拍賣進行之情況可能使本公司無法代為競投。由於此項承擔乃本公司為準買家按所 述條款提供之免費服務，如未能按委託作出競投，本公司將不負任何法律責任。準買 家如希望確保競投成功，應親自出席競投。 e. 電話競投 如準買家於拍賣前與本公司作好安排，本公司將盡適當努力聯絡競投者，使其能以電 話參與競投，但在任何情況下，如未能聯絡或無法參加電話競投，本公司對賣家或任 何準買家均不負任何責任。 f. 即時網上競投 若準買家未能出席拍賣會，或可透過 LiveAuctioneers 網上競投服務於網上競投指 定拍品，而承擔買方獨立責任。此項服務乃免費及保密。有關透過 LiveAuctioneers 網上競投服務登記，進行網上競投之詳情，請參閱本公司網頁 ravenel.com。使用 LiveAuctioneers 網上競投服務之準買家須接受透過 LiveAuctioneers 網上競投服務進行 即時網上競投之附加條款（可參閱羅芙奧 ravenel.com），以及適用於該拍賣之業務規 則所規範，本公司得隨時修改該業務規則。 g. 匯率轉換顯示板 拍賣會中，本公司會使用匯率轉換顯示板，然而競投仍會以港幣進行。匯率轉換顯示 板僅供參考，不論是顯示板所示之拍賣品編號或是港幣競投價之相等外匯，其準確程 度均可能會出現非本公司所能控制之誤差。買家因依賴匯率轉換顯示板（而非因以港 幣競投）所導致而蒙受之任何損失，本公司概不負責。 h. 錄映影像 在拍賣中會有影像投射，但其操作或會出現錯誤。不論影像是否與成功拍賣之拍賣品 相配合，或是如翻版影像之質素，本公司對買家均不負任何責任。 i.拍賣官之決定權 拍賣官具有絕對決定權，包括但不限於有權拒絕任何競投、以其決定之方式推動出 價、將任何拍賣品撤回或分批、將任何兩件或多件拍賣品合併拍賣，以及如遇有誤差 或爭議，將拍賣品重新拍賣。拍賣官會於拍賣開始前或於相關拍賣品競標前對應注意 事項作出通告，買家須自行注意此等通告。 j. 成功競投 在拍賣官之決定權下，下槌即顯示對最高競投價之接受，視為賣家與買家之成功拍賣 合約之訂立。買家即應對賣家負擔買受人之義務及責任。 4.拍賣後 a. 買家支付每件拍賣品之佣金費率 (1)買家除支付落槌價外，另須支付買家佣金予本公司，落槌價於港幣捌佰萬元以下 者（含港幣捌佰萬元），以20％計算。 (2)落槌價於港幣捌佰萬元以上者，採分二級計價，其中港幣捌佰萬元以20％計算， 超過港幣捌佰萬元之部份再以12％計算，加總計算佣金金額。 b. 稅項 買家應付予本公司之所有款項均不包括任何國家或地區稅賦、貨物或服務稅或其他稅 款。如有任何此等稅項適用，買家須負責按有關法律所規定之稅率及時間，自行繳付 此稅款。 c. 付款 成功拍賣後，買家須向本公司提供其姓名及永久地址。如遇要求，買方亦須提供付款 銀行之詳情，包含但不限於付款帳號。買方應於拍賣日期後起算七天內悉數支付應付 予本公司之款項（包含落槌價、佣金，以及任何適用之稅款及其他費用）。即使買家 希望將拍賣品出口並需要（或可能需要）出口許可證，此一付款條件亦適用。 買家如未向本公司支付應付之全部款項，則不能取得拍賣品之所有權，即使本公司已 將拍賣品交付予買家亦然。如支付予本公司之款項為港幣以外之貨幣，本公司將向買 家收取所引致之任何外匯費用。這包括銀行收費與兌換貨幣之規費及匯差。 以港幣以 外之貨幣付款予本公司之匯率，依拍賣日現場由香港匯豐銀行公佈之匯率，並以本公 司就此兌換率而發出之憑證為準。 d. 領取已購拍賣品 除非本公司另有特別相反協定，否則本公司將暫時保留已成功拍賣之拍賣品，直至所 有應付予本公司之款項已悉數由買家支付為止。拍賣品在暫時保留期間，由成功拍賣 日後起算七天將受保於本公司之保險，如屆時拍賣品已被領取，則受保至領取時為 止。七天期滿後或自領取時起（以較早者為準），拍賣品之風險全由買家承擔。 e. 包裝及搬運 本公司謹請買家注意，成功拍賣日後起算七天期滿後或自領取時起，拍賣品之風險全 由買家承擔，但不得損及本公司之權益。 f. 介紹裝運及運輸公司 本公司之貨運部門在買家要求下可為買家介紹運輸公司、安排付運及購買特定保險， 但本公司在此方面不負任何法律責任。買家必須預先繳付運送費用。 g. 不付款之補救辦法 如買家並未有在成功拍賣日後起算七天內付款，本公司即有權行使下述一項或多項權 利或補救辦法： (1)在成功拍賣日後起算七天仍未付款，則按不超過香港匯豐銀行最優惠利率加10%之 年利率收取整筆欠款之利息。此外本公司可同時按日收取依賣價（含佣金）1％計 算之違約金。本公司亦得自行選擇將買家未付之款項，用以抵銷本公司或其他附屬 公司在任何其他交易中欠下買家之款項，買方絕無異議。 (2)對任何屬於買家所有而因任何目的（包含但不限於其他交易）而由本公司管有之 物品行使留置權，並在給予買家有關其未付之欠繳之14天通知後，安排將該物品出 售並將收益用以清償該未付之欠款。 (3)如買家因多項不同之交易而欠下本公司數筆款項，將所付之款項用以清償就任何 特定交易而欠下之任何款項，而不論買家是否指示用以清償該筆款項。 (4)在將來的任何拍賣中，拒絕買家作出或由他人代其作出之競投，或在接受其任何 競投之前先收取買家一筆保證金。如買家未有在三十五天內付款，本公司除上述者 外，另有權為下述一項或多項權利或補救辦法： (a)代賣家針對買家進行法律程序，以追討整筆欠款，連同此項以悉數賠償為基準 之法律程序之訴訟費及律師費等相關費用。 (b)取消同一次或任何其他拍賣中買家競投得之拍賣品或任何其他售予買家之拍賣 品之交易。 (c)安排將拍賣品公開或私下重售，如重售所得價格較低，就差額連同因買家未有 付款而引致之任何費用一併向買家索償。 h. 未有領取已購拍賣品 如已購得之拍賣品未有被買家在成功拍賣日後起算七天內領取，則不論是否已付款， 本公司將安排貯存事宜，費用由買家承擔。而買方在付清所引起之貯存、搬運、保險 及任何其他費用，連同欠本公司之所有其他款項付清後，買家才可領取已購得之拍賣 品。
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i. 出口許可證 除本公司另有書面同意外，買家希望申請出口許可證之事實，並不影響買家在成功拍 賣日後起算七天內付款之責任，亦不影響本公司對延遲付款收取利息之權利。 如買家要求本公司代為申請出口許可證，本公司有權向其收回與此項申請有關之付出款 項及零碎開支連同任何有關之稅款。 如買家不管需要有出口許可證之事實而作出付款，本公司並無責任退還買家因此而引致 之任何利息或其他開支。 5. 本公司之法律責任 本公司僅在第二條第6項所列之情況下，得將退還款項予買家。除此之外，不論賣家或本 公司，或本公司任何僱員或代理人，對任何拍賣品之作者、來歷、日期、年代、尺寸、 材質、歸屬、真實性、產地、保存狀況或估計售價之陳述，或任何拍賣品之任何缺陷， 均不負有任何責任。賣家、本公司、本公司之僱員或代理人，不論明示或暗示，均無就 任何拍賣品作出任何保證。 6. 膺品/贓物之退款 如經本公司拍賣之拍賣品，經本公司書面認可之專業鑑定機構出具鑑定報告證實為膺品 或贓物，則交易將取消，已付之款項於交付賣方前將退還予買家。但如： a. 在拍賣日發出之目錄說明或拍賣場通告符合當時學者或專家普遍接納之意見，或清楚 表明有抵觸當時學者或專家普遍接納之意見，或 b. 證明拍賣品為膺品之方法，只是一種在目錄出版前仍未普遍獲接納使用之科學程序， 或是一種在拍賣日仍屬昂貴得不合理或並不實際或很可能會對拍賣品造成損壞之程 序，則本公司無論如何並無責任退還任何款項。此外，買家只在滿足下述條件下方可 獲得退款： 1. 買家必須在付款領取拍賣品後的十日內以書面通知本公司，說明買家認為有關拍賣 品乃膺品或贓物之詳細理由及證據，並通知後十四日內及將拍賣品送還本公司，而 其狀況應維持與拍賣當日相同，不得有任何損壞；及 2. 送還拍賣品時，買家須出示證據，足以使本公司確信拍賣品乃膺品或贓物(本公司保 有最終及不可異議的決定權)。在任何情況下，本公司均毋須向買家支付多於買家就 有關拍賣品而支付予本公司之款項，而買家亦不能索取利息或任何賠償。 本條款之利益不能轉讓，完全屬於拍賣品成功拍賣時獲本公司發給正本發票之買家所有 (該買家名稱確係被記載於發票上)，該名買家並須自拍賣後一直保持拍賣品擁有人之身 分，而且並無將拍賣品之任何利益讓予任何第三人。本公司有權依據任何科學程序或其 他程序確定拍賣品並非膺品，不論該程序在拍賣當日是否已使用或已在使用，如本公司 驗證拍賣品是否屬於贗品之結果與買家出示證據相衝突者，應以本公司驗證結果為準。 三.賣家 1. 本公司作為代理人 本公司在公開拍賣會中，以作為賣家代理人身份行事。拍賣品成功拍賣後，即產生賣家 通過本公司之代理與買家達成之合約，由賣家負責向買家履行出賣人義務及責任。 2. 開支 賣家須負責與下述各項有關之費用： a. 將拍賣品包裝並運予本公司作拍賣。 b. 任何適用之運送保險。 c. 如拍賣品交回賣家其包裝與付運。若拍賣品由海外進口，付運費與進口適用之稅項。 d. 受保於本公司之精品保險單（下文另有解釋）。 e. 預先與賣家協定之對拍賣品作出之任何修整。 f. 本公司為擬定目錄說明指定需由外界專家作出之鑑定。 g. 本公司指定之任何外界專家意見。 h. 拍賣品拍賣前後之裝卸、貯存及保管等費用。 i. 本公司之行政費用，金額為因賣家而引致之一切費用及損害金額之10%。 j. 任何市場之推廣及廣告費用。 3. 由本公司安排保險事宜 a. 除非與本公司另有協定外，否則拍賣品將自動受保於本公司藝術品精品保險單，保險 值為本公司自行評估 當時認為適當者。然而保險金額並非本公司承諾拍賣品會成功拍 賣之款額。 b. 本公司將向賣家收取拍賣落槌價之1%或若未拍賣成功時以拍賣品底價之1%，作為保險 費。如由本公司安排運送，本公司將向賣家收取額外款項，作為運送保險費，款額視 每宗拍賣品之特定情況而定。如有需要，本公司可建議/介紹承運人，但不論於何種情 況下，本公司均不承擔任何有關此方面之運送法律責任。 c. 拍賣品在成功拍賣日後起算七天內保險仍然有效。如拍賣品未能成功拍賣，保險屆期 以後風險全由賣家承擔。 d. 由蛀木蟲、空氣、水份情況轉變或其他不能預見或人力不可抗拒情況而對拍賣品造成 之損壞，或其他非可歸責於本公司之事由所致之損壞，本公司不承擔任何法律責任。 4. 物主購買保險 如賣家特別指示本公司毋須為拍賣品購買保險，風險全由賣家承擔，直至拍賣品交付予 買家為止。賣家無條件同意須保障本公司、本公司之僱員與代理人，以及買家（如適 用）免負因拍賣品而針對本公司、本公司之僱員與代理人，以及買家索償之賠償責任， 而不論索償因何引起。賣家亦同意應本公司、本公司之僱員與代理人，以及買家所要 求，負責償還因此種索償而引致之開支，縱使本公司、本公司之僱員與代理人，以及買 家有疏忽之處，而未證明有任何法律責任而作出之付款，亦須償還。賣家須自行將本條 條款揭露予賣家之承保人。 5. 賣家就拍賣品所作之承諾 本項列出本公司處理拍賣品之基準，規範賣家與買家之間的買賣關係。如此基準在任何 方面有不確實之處，本公司或買家可採取針對賣家之法律行動。本公司處理拍賣品及購 買拍賣品，均以賣家所作之下述承諾及擔保為基準，賣家承諾及擔保如下： a. 賣家為拍賣品之唯一所有權人及/或合法持有人，具備將其所有權及相關所有權利(於無 質押、無產權負擔及無涉及第三人權益或申索的情況下)轉讓予買家之無限制權利。 b. 賣家已遵守一切與拍賣品之進出口有關之法律或其他方面之規定，並已將過去任何第 三人未能遵守此等規定之事以書面通知本公司。 c. 賣家已將其所知之有關拍賣品之任何重大修改以及第三人就拍賣品之所有權、狀況或 歸屬所表示之任何關注以書面通知本公司。 如上述a、b或c等三項擔保有任何不確實之處，賣家須應本公司及/或買家之要求，完全負 責及彌償本公司及／或買家一切因此而引起之損失索償、訴訟費、律師費、所有費用及 開支，而不論是因拍賣品還是因拍賣收益而引起。
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6.拍賣安排 a.本公司對目錄內拍賣品之描述與圖示方式、鑑定意見書、拍賣地點與方式、讓何人進場 競投以及競投價之接受、是否應尋求專家意見，以及將物品合併或分開拍賣等均有完 全之決定權。 b.任何估價，不論口頭或書面，均只屬意見，而非拍賣品最終可賣得的價錢之保證。 c.未得本公司事前書面同意，賣家不可撤回拍賣品之委託。但本公司保留隨時因後述原因 而撤回、中止或終止拍賣品委託授權之權利。此等原因為： (1)本公司對拍賣品之界定或真實性或上述第5a、 b或c項所指之承諾之準確性有懷疑； 或 (2)有任何違反本業務規則之情況；或 (3)本公司認定將拍賣品納入或繼續執行拍賣並不適當者。 d. 撤銷委託或授權條款 (1)非經本公司事前書面同意，賣家不得撤回、中止或終止對於標的作品之委託或授予 本公司之權利。 (2)賣家依前項規定撤回、中止或終止拍賣品之委託或授與本公司之權利者，委託者除 應對本公司負損害賠償或經濟上損失賠償責任外，尚須支付委託底價之40%作為懲 罰性違約金付與本公司。 (3)如賣家有任何違約情事，本公司有權隨時終止委託事項，賣家須支付本公司所有之 前為履行委託或授權工作所產生之費用及開支。 7. 拍賣守則 a. 本公司將會參照底價進行拍賣品之拍賣程序。底價不得高於拍賣目錄所印登載估價之 下限，但如所同意之底價為港幣以外之貨幣，並因協定底價之日與成功拍賣之日上匯 率波動而致底價高於估價下限，則不在此限。在此情況下，除本公司另行同意外，底 價須為相等於以緊接成功拍賣前一個工作天之收市匯率計算之港幣款項。 b. 如競投價不能達到底價，本公司在任何情況均不負有任何責任，但本公司有權決定將 拍賣品以低於底價拍賣。如本公司如此將拍賣品拍賣，本公司將有責任向賣家支付成 交價與底價之差額。 c. 賣家不得以自己或第三人名義隨意哄抬競投價格，不得以自己或第三人名義參與競標 拍賣品，亦不得聘請任何人代賣家參與競投，惟本公司有權代理賣家參與競投。 8.成功拍賣後 a. 結算 成功拍賣後，本公司協助賣方要求買家最遲於成功拍賣日後7日內全數付款。在買家付 款後，除非本公司收到通知謂拍賣品為膺品，否則，本公司會於成功拍賣日期後60個 工作天，將一筆相等於成交價減去賣家應支付之所有費用之款額匯予賣家。如遇買家 延遲付款，則本公司將在買家付款後7個工作天內匯款予賣家。如因任何理由而使本公 司在買家付款前即已付款予賣家，則本公司即獲得拍賣品之完整之擁有權與所有權。 但在本公司因拍賣品為膺品而被迫向買家收回拍賣品下，賣家方須將已收取之拍賣收 益退還予本公司。 除賣家另有書面指示外，本公司將以港幣付款。如賣家要求以港幣以外之貨幣付款， 依拍賣現場由香港匯豐銀行公佈之匯率計算付款金額。 b.賣家支付每件拍賣品之手續費： (1)本公司之拍賣須至拍賣完成後買家實際付清所有款項予本公司時，視為交易完成。 (2)當交易完成，賣家須依約定支付本公司手續費。 c. 買家不付款 如買家在成功拍賣日後起算7天內未支付應付之全部款項，本公司即有權代理賣家就 付款、貯存與保險而協定特別條款，並有權代理賣家採取本公司認為適當的任何步驟 以向買家收取其應付之款項，因而產生之相關費用及損害，概由賣家自行承擔。但本 公司並未承擔任何付款責任，亦無義務代理賣家採取任何行動(包括但不限於法律行 動)。但本公司將與賣家討論如何採取適當行動以向買家追討拍賣款額。 d. 膺品/贓物 如買家於付款領取拍賣品後之十日內，使本公司相信或懷疑拍賣品為膺品或贓物或涉 及任何不法情事者，本公司得自行決定無條件買家交付之拍賣落槌價(本公司得扣處因 此所致之相關處理費用)予買家時，而拍賣品將由本公司退回賣家或送交警方處理，賣 家不得異議或對本公司主張任何權利或請求，賣家並應於本公司通知後，於三日內無 條件退還其所得之全數金額予本公司，賣家並應於十日內付清相關基本支出費用，及 賠償本公司因此所致之所有損失、損害及相關費用等。逾期退還、給付者，賣家應另 外支付按不超過香港匯豐銀行最優惠利率加10%之年利率收取整筆欠款之利息。此外 本公司可同時按日收取依賣價（含佣金）1％計算之違約金。本公司亦得自行選擇將賣 家未付之款項，用以抵銷本公司或其他附屬公司在任何其他交易中欠下賣家之款項， 賣家絕無異議。 e. 未能成功拍賣之拍賣品 (1)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、中止或 終止拍賣，則在本公司發出通知予賣家要求賣家領回拍賣品後之35天內，賣家必須 領回拍賣品。 (2)任何此等拍賣品如在35天過期後仍未領回，本公司可向委託者徵收每天每件標的作 品參佰港元 (HK$300)貯存費，並收取額外費用以購買保險。賣家須在付清所有未付 費用後，方可領回拍賣品。 (3)此等拍賣品如在發出領回通知後之60天內仍未領回，則可被移往第三人之貨倉貯 存，開支費用由賣家承擔。 (4)任何此等拍賣品如在拍賣日期後或上述通知日期後之90天內（以較早之日期為準） 未被領回，則本公司可視乎是否合適而將該拍賣品處置。處置包括將拍賣品移往第 三人之貨倉而開支費由賣家承擔，以及將該拍賣品按本公司認為適當之條款（包括 有關估價與底價之條款）公開拍賣。本公司其後會將拍賣收益扣除所有欠款後支付 予賣家。 (5)任何拍賣品如在拍賣中收回或未能成功拍賣，則本公司有權代理賣家在拍賣後的兩 個月內作為賣家之獨家代理人，按賣家可收取之淨款額（即扣除賣家應付之一切費 用後之款額），私下出售拍賣品。本公司得事前扣除所致之費用。在此情況下，賣 家就該拍賣品而對本公司所負有之責任、義務及付款條件等，與拍賣品成功拍賣時 一樣。 9. 圖片與圖示 賣家同意本公司有權對拍賣品制作照片、圖示、錄像或其他形式的影像制品，此等照 片、圖示、錄像及影像制品之著作權及其他一切權利均屬本公司所有，且本公司有權以 任何本公司認為適合之方式使用之，賣家絕無異議。
10.稅制 a. 依香港稅法規定，拍賣品成交後委託者須提供報稅名單及相關資料，由本公司提報稅 捐單位。 b. 如果賣家為香港公司或香港居民，根據香港稅法，本公司毋須向賣家代扣香港利得 稅。如果本公司其後發現賣家之聲明及文件不實，本公司保留向賣家追討香港稅款及 其他相關費用（如利息、罰款及律師費等）的權利。 c. 若委託者非香港本地人士，委託者並同意本公司直接代扣落槌價或底價(如底價高於落 槌價)之0.5%，作為拍出後之利得稅，由本公司代為申報並繳交稅捐單位。由本公司 扣除的款項將隨著當時的稅率而調整。 四.買家與賣家均適用之條件 1. 智慧財產權 與拍賣品有關之一切影像、圖示與書面材料之相關智慧財產權(包括但不限於著作權、 專利等)，於任何時候均屬於本公司之財產及所有。未得本公司事先書面同意，賣家、 買家或任何人均不得使用。 2. 通知 a. 根據本業務規則發出之通知，均須以書面發出。如採用郵遞發出，則在付郵寄出後第 二個工作天，視為收件人已合法收受；如收件人在海外，則為付郵寄出後第五個工作 天，視為收件人已合法收受。 b. 本公司根據本業務規則、委託授權書或買家所提供之聯絡資料對賣家或買家發出之通 知，凡已依據委託授權書後附或買家所提供資料上所載的地址、電子郵件地址或傳真 號碼統稱「聯絡方式」)以書面發出該通知者，均視為該通知已有效發出。若賣家或 買家之聯絡方式有變更時，應立即以書面通知本公司。 3.可分割性 a. 如本業務規則有任何部份遭任何法院認定為無效、不合法或不可強制執行，則該部分 可不予理會，而本業務規則之其他條款仍繼續有效及可強制執行。 b. 本業務規則第二條買家條款項下之各條款，專屬適用本公司與買家間法律關係，賣家 不得主張適用。本業務規則第三條賣家條款項下之各條款，專屬適用於本公司與賣家 間法律關係，買家不得主張適用。 4.本業務規則同時存在中文及英文版本，如二版本內容有所歧異，應以中文版條文為準。 5. 本業務規則得隨時由本公司修改，買方及賣方均同意遵守修改後之業務規則。 6. 法律及管轄權 本業務規則受香港法律規範，本業務規則之解釋與效力均適用香港法律。賣家與買家須 服從香港法院之排他性管轄權。
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ABSENTEE BID FORM The absentee bid forms must be delivered to the Customer Service Department at least 24 hours before the auction begins. The bid forms may be faxed to: Tel: +852 2889 0859 Fax: +852 2889 0850
Auction Date Sale No. Location Address
Ravenel Autumn Auction 2013 Hong Kong Modern & Contemporary Art Sunday, 24 Nov. 2013, 5:30pm HA1305 Grand Hyatt Hong Kong (Grand Ballroom) 1 Harbour Road, Wanchai, Hong Kong
Bidder’s Details Name ID number Address Post code Tel Mobile Fax Email Signature (We must have your signature to execute this bid.) It is requested hereby that Ravenel tenders the bid on my behalf for the following auction items within the bidding range described hereunder. I understand that Ravenel provides such bid services for the convenience of customers and Ravenel shall not be held liable for any failure to execute a bid. If Ravenel receives more than one commission of the same bid price with regard to a particular auction item, priority will be given to the person whose bid is first received. I understand that if my bid is successful, I shall pay the final hammer price together with the Buyer’s Premium and any applicable sales tax. The Buyer’s Premium shall be calculated as 20% of the final hammer price (not applicable to wines). For detail please refer to Articles 4a, c and d of the Transaction Rules to the Buyer. (4a. The Buyer’s Premium of Each Lot Payable by the Buyer: (1) The Buyer should pay the hammer price and, in addition, the Buyer’s Premium to the Company. For hammer price below HK$ 8,000,000 (inclusive), the Buyer’s Premium should be calculated at 20% of the hammer price. (2) For hammer price higher than HK$ 8,000,000, total amount of the Buyer’s Premium should be that the first HK$ 8,000,000 of the hammer price should be calculated at 20% and the rest of the amount of the hammer price should be calculated at 12%.) The bid shall be subject to the Transaction Rules prescribed in the catalogue. Please note especially the limited guarantee and exclusive warrantees that may be provided for certain items.
PLEASE PRINT LEGIBLY Auction item number (in numerical order)
Title
Bid price (HK$) (excluding buyer’s premium)
Interested buyers should provide Ravenel with their current bank and/or other relevant material to ensure all bids will be accepted and the delivery of the auction item will not be delayed, and authorize us to verity the provided informations with the bank. Kindly provide this information for processing in advance of the auction date.
Bank Reference Approval Name of the bank Address of the bank
Name of the account Account number Contact of the bank Tel. No.
Ravenel Auction Hong Kong Limited Unit 601-3, 50 Connaught Road Central, Hong Kong Tel: +852 2889 0859 Fax: +852 2889 0850 ravenel.com
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委託競投表格 委託競投表格須於拍賣24小時前送抵客戶服務部。競投表格可傳真至： 電話：+852 2889 0859 傳真：+852 2889 0850
拍 賣 名 稱： 羅芙奧香港 2013 秋季拍賣會 現代與當代藝術 拍 賣 編 號：HA1305 香港拍賣日期：2013 年 11 月 24 日（星期日） 下午 5:30 香港君悅酒店（宴會大禮堂）香港灣仔港灣道 1 號
投標者資料 客戶編號 （如有） 姓名 身份證號碼 地址 郵碼 電話 傳真 簽名
行動電話 電郵
（本公司在取得閣下之簽名後方才接受競標）
茲請求羅芙奧就下列拍賣品於下列競投價範圍內投標。 本人亦明白，羅芙奧為方便顧客而提供代為投標的服務，羅芙奧不因怠於投標而負任何責任。倘羅芙奧就同一項拍賣品收到相同競價之委託，以 最先收到者優先辦理。 本人知悉如投標成功，本人應付之購買價款為最後之落槌價加上買家佣金（連同該最後落槌價及買家佣金之營業稅）買家佣金依最後落槌價乘以 佣金費率得之。詳見業務原則規定第4條a,c,d之規定。（4a.買家支付每件拍品之買家佣金費率：（1）買家除支付落槌價外，另須支付買家佣金予 本公司，落槌價於港幣捌佰萬元以下者（含捌佰萬元）以20％計算；（2）落槌價於港幣捌佰萬元以上者，採分二級計價，其中港幣捌佰萬元以 20％計算，超過港幣捌佰萬元之部份以12％計算；加總計算佣金金額。） 本競投，本人同意並遵守本目錄所載所有業務規則（特別是有限保證、不負其他瑕疵擔保等規定）。
請用正楷填寫清楚 拍賣品編號 （按數字順序）
名
競投價（港元） （買家佣金不計在內）
稱
為確保所有投標均得以接受及拍賣品之送交不延誤，有意買家應向羅芙奧提供往來銀行或其他適當之參考資料，並予以授權羅芙奧得向銀行查 證。該等資料應及時提供，以便在拍賣前著手處理。
銀行證明 銀行名稱 銀行地址 羅芙奧香港拍賣有限公司 香港中環干諾道中50號六樓601-3室 Tel: +852 2889 0859 Fax: +852 2889 0850 ravenel.com
銀行帳戶名稱 銀行帳號 銀行聯絡者 銀行電話
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INDEX B 545
Venkat BOTHSA 凡卡．波沙 C
503 513 508
Jui-Pin CHANG 張瑞頻 Paul CHIANG 江賢二 CHIU Ya-tsai 邱亞才 G
528
Yun GEE 朱沅芷 H
534, 535 542 504, 505 509 521, 533
HE Chong Yue 何崇岳 Tomokazu HIROE 廣江友和 HSU Tzu-Kuei 許自貴 HSIAO Chin 蕭勤 HUANG Gang 黃鋼 J
537, 538 522, 523, 530
JIANG Jianqiu 蔣建秋 (老蔣) JU Ming 朱銘 K
516 512
Izumi KATO 加藤泉 KUO Chwen 郭淳 L
531 514, 515 501
LI Chen 李真 LIEN Chien-hsing 連建興 LO Chan-peng 羅展鵬 M
517
Hiroyuki MATSUURA 松浦浩之 N
543
Daisuke NAGAOKA 永岡大輔 P
506, 507
PANG Jiun 龐均 Q
536
QIU Zhijie 邱志傑 S
502 539 529 546 511
SHEN Chao-Liang 沈昭良 SHI Lifeng 石立峰 SHIY De-jinn 席德進 Bhagat SINGH 巴哈哥特．西恩 SU Wong-shen 蘇旺伸 V
544
VENTURA Ronald 羅納德．溫杜拿
519
Walasse TING 丁雄泉 Tomoya TSUKAMOTO 塚本智也
T 541
W 540
WANG Tiande 王天德 Y
532 510, 518
Tzu-chi YEH 葉子奇 YUAN Jai 袁旃 Z
527 526 520, 524, 525
ZAO Wou-ki 趙無極 ZENG Fanzhi 曾梵志 ZHOU Chunya 周春芽