AUTUMN AUCTION 2015 HONG KONG
RAVENEL AUTUMN AUCTION 2015 HONG KONG Modern and Contemporary Art
羅芙奧香港 2015 秋季拍賣會 現代與當代藝術拍賣
AUCTION
拍賣日期 / 地點
Sunday, 29 November 2015, 11:00 am Grand Hyatt Hong Kong (Grissini) 1 Harbour Road, Wanchai, Hong Kong
2015年11月29日（日） 上午 11:00 香港君悅酒店（二樓 Grissini） 香港灣仔港灣道1號
PREVIEWS
預展日期 / 地點
Taichung
台中 2015年11月14日（六） 下午1:00至下午6:00 2015年11月15日（日） 上午11:00至下午6:00 豐藝館 台中市西區五權西路一段110號
Taipei
台北 2015年11月21日（六） 上午10:00至下午6:00 2015年11月22日（日） 上午10:00至下午6:00 富邦人壽大樓國際會議中心 台北市敦化南路一段108號B2
Hong Kong
香港 2015年11月27日（五） 下午2:00至下午7:00 2015年11月28日（六） 上午10:00至下午7:00 香港君悅酒店（二樓 Grissini） 香港灣仔港灣道1號
Saturday, 14 November 2015, 1:00 pm - 6:00 pm Sunday, 15 November 2015, 11:00 am - 6:00 pm Fong-Yi Art Gallery (Next to the National Taiwan Museum of Fine Arts) No. 110, Sec. 1, Wuquan W. Rd., West Dist., Taichung, Taiwan
Saturday, 21 November 2015, 10:00 am - 6:00 pm Sunday, 22 November 2015, 10:00 am - 6:00 pm Fubon International Conference Center B2, No. 108, Sec. 1, Dunhua South Road, Taipei, Taiwan Friday, 27 November 2015, 2:00 pm - 7:00 pm Saturday, 28 November 2015, 10:00 am - 7:00 pm Grand Hyatt Hong Kong (Grissini) 1 Harbour Road, Wanchai, Hong Kong
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$ 500 per copy.
Arthur WANG 王鎮華
Chairman 董事長
Clara KUO 郭倩如
Vice Chairman 副董事長
陳惠黛 Odile Chen
傅斐郡 Flora Fu
香港藝術部 總經理 Head of Art Department, Hong Kong Chief Specialist
台北藝術部 總經理 President, Art Department, Taipei
何瑩 Vivi He
林慧菁 Maggie Lin
業務發展部 總監 Head of Business Development Department
台北藝術部 副總經理 Vice President, Art Department, Taipei
廖培娟 Claire Liao
黃詩涵 Stella Huang
香港藝術部 專家 Specialist, Art Department, Hong Kong
台北藝術部 經理 Manager, Art Department, Taipei
鄧秀麗 Crystal Tang
蔡晉欣 Olivier Tsai
香港藝術部 專家 Specialist, Art Department, Hong Kong
台北藝術部 副理 Assistant Manager, Art Department, Taipei
張鶴軒 Helen Zhang
江玉涵 Marguerite Chiang
北京業務代表 Sales Representative, Beijing
台北藝術部 行政主任 Administrative Officer, Art Department, Taipei
游景涵 Carol Yu 香港藝術部 業務助理 Sales Assistant, Art Department, Hong Kong
CONTENTS 5
Sale Information 羅芙奧秋季拍賣會
8
Ravenel Services 羅芙奧之服務
12
Modern and Contemporary Art 現代與當代藝術
201
Transaction Rules For Art (Hong Kong) 業務規則
207
Absentee Bid Form 委託競投表格
209
Index 畫家索引
RAVENEL STAFF AND SERVICES FOR THIS SALE
ART CONSULTANTS ART DEPARTMENT, HONG KONG Head of Art Department, Hong Kong Odile Chen Tel: +886 2 2708 9868 ext. 889 Email: odilechen@ravenel.com
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Taiwan
CATALOGUE SUBSCRIPTION
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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 2015 秋季拍賣會服務部門及連絡人
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MODERN & CONTEMPORARY ART Sunday, 29 November 2015, 11:00 am Grand Hyatt Hong Kong (Grissini)
Lots 001 – 095
001
RICHARD LIN
(LIN Show-yu, Taiwanese, 1933-2011)
23-November-1959 1959 Oil on canvas 51 x 41 cm
林壽宇 1959年11月23日
Signed on the reverse Lin Showyu , inscribed 20 x 16 oil / canvas and dated 1959
1959 油彩 畫布 51 x 41 cm
EXHIBITED: Richard Lin , Jia Art Gallery, Taipei, 1995
簽名畫背：Lin Showyu 1959 20 x 16 oil / canvas
ILLUSTRATED: Richard Lin , Jia Art Gallery, Taipei, 1995, colour illustrated, no. 12
展覽： 「林壽宇」，家畫廊，台北，1995 圖錄： 《林壽宇》，家畫廊，台北，1995，彩色圖版，編號12
HK$ 60,000 - HK$ 100,000 NT$ 254,000 - NT$ 424,000 US$ 7,700 - US$ 12,900
"The color white may appear to be common and popular. It is both sacred and sorrowful that causes one to be at ease and unease. In between the white exist an enlightening continuum of colours and blankness that fluctuates as the intensity, dilution, lightness, translucent and semi-translucent qualities of the color white various." - Richard Lin "Richard Lin’s 'White series' is derived from a foundation that draws upon from both the ontological poetries and Eastern meditative traditions, it encapsulates the Taoist concepts of 'Emptiness' and 'Ethereal', creating a naturalistic Zen spatial setting that pertains to the poetry of Xiao Yao You. Lin has reincorporate post-modern interpretation in classical in literati paintings." - Academician of Taiwan Academy of Fine Arts, Pedro Tseng 「白色是最平凡、通俗，讓人既舒服又不舒服，是最神聖也最哀傷 的顏色。」「白色本身即有許多色彩，其濃、淡、輕、重、透明、 半透明……使白與白之間構成了許多形狀與形狀，空間與空間的玄 奇奧妙！」– 林壽宇 「而林壽宇的白色系列，則是在帶有東方詩境冥想的存有論基礎 上，表達中國老莊思想中『無』與『空靈』的概念，以及『逍遙 遊』詩境中的自然主義式的禪學空間，他可以說是為中國文人畫中 的留白空間，賦予了『後現代』的意涵。」
– 台灣藝術大學學者曾長生
Ravenel 13
002
WANG PAN-YOUN
(Taiwanese, b. 1911)
Unfinished Journey 1990 Watercolor on paper 38 x 53 cm Initialed lower right P.Y . PROVENANCE: Acquired directly from the artist's family This painting is to be sold with a certificate of authenticity signed by the artist's grandson.
王攀元 未境之程 1990 水彩 紙本 38 x 53 cm 簽名右下：P.Y. 來源： 購自藝術家家屬 附藝術家家屬開立之原作保證書
HK$ 38,000 - HK$ 60,000 NT$ 161,000 - NT$ 254,000 US$ 4,900 - US$ 7,700
003
ALIXE FU
(FU Qingli, Ching-Fong, Chinese-French, b. 1961)
Nuage dans l'atelier 1990 Oil on canvas 72.5 x 60 cm
傅慶豊
Signed lower right Alixe Fu and dated 90
1990 油彩 畫布 72.5 x 60 cm
ILLUSTRATED: Alixe Fu, East Gallery, Taipei; Galerie Patrick Chemama, Paris, 1990, color illustrated, p. 41
HK$ 32,000 - HK$ 48,000 NT$ 136,000 - NT$ 203,000 US$ 4,100 - US$ 6,200
畫室裡的雲
簽名右下：Alixe Fu 90 圖錄： 《傅慶豊》，東之畫廊，台北；派帝克畫廊， 巴黎，1990，彩色圖版，頁41
Ravenel 15
004
T'ANG HAYWEN
(TANG Then Phuoc, Chinese-French, 1927-1991)
Abstract (diptych) Ink on paper 70 x 100 cm Signed lower right T'ang in English and Haywen in Chinese PROVENANCE: Ravenel Autumn Auction 2013, Taipei, December 1, 2013, lot 709
HK$ 80,000 - HK$ 120,000 NT$ 339,000 - NT$ 508,000 US$ 10,300 - US$ 15,500
曾 海文 抽象（雙聯幅） 水墨 紙本 70 x 100 cm 簽名右下：T'ang 海文 來源： 羅芙奧2013秋季拍賣，台北，2013年12月1日，編號709
Born in Amoy, Fujian in 1927. T'ang Haywen studied Chinese calligraphy under the instruction of his grandfather. In 1937, T'ang moved first to Vietnam and then to Paris in 1948 to further his studies. A self-taught artist, T'ang held his first exhibition in 1955 and since then his works have been widely exhibited in Europe and America. In August 1997, the Taipei Fine Arts Museum organized a retrospective exhibition of his work entitled "The Tao of Painting ". From June to September 2002, the Musée des Arts AsiatiquesGuimet in Paris has presented a retrospective of T'ang works entitled "Paths of Ink ". In August 2002 the Shiseido Foundation in Tokyo has also exhibited the work of T'ang. T'ang's work is either held privately or in the collections of numerous museums in Europe and America. Among them are The Menil Collection in Houston, Texas; the Musée National des Art Asiatiques-Guimet in Paris and the Musée d'Art Moderne de la Ville de Paris. 曾海文1927年生於福建廈門，自幼跟隨祖父習寫書法，1937年舉家遷 居越南，因其對藝術的執著，於1948年赴藝術之都巴黎遊學，他以自 修的方式遊覽巴黎各大美術館，而於1955年首次舉辦展覽，之後陸續於 歐美各國展出，1997年8月台北市立美術館為其舉辦「作品回顧展」。 2002年9月於法國巴黎的亞洲藝術館舉行大型的回顧展，並於同年日本 東京資生堂基金會也舉行了曾海文個展，完整地呈現其繪畫風貌，作品 為多所法國現代美術館及私人收藏。
Ravenel 17
005
T'ANG HAYWEN
(TANG Then Phuoc, Chinese-French, 1927-1991)
Rhythm (diptych) Ink on paper 70 x 100 cm Signed lower right T'ang in English and Haywen in Chinese PROVENANCE: Ravenel Autumn Auction 2013, Taipei, December 1, 2013, lot 707
HK$ 80,000 - HK$ 120,000 NT$ 339,000 - NT$ 508,000 US$ 10,300 - US$ 15,500
曾海文 律動（雙聯幅） 水墨 紙本 70 x 100 cm 簽名右下：T'ang 海文 來源： 羅芙奧2013秋季拍賣，台北，2013年12月1日， 編號707
006
T'ANG HAYWEN
(TANG Then Phuoc, Chinese-French, 1927-1991)
Abstract (diptych) Ink on paper 70 x 100 cm Signed lower right T'ang in English and Haywen in Chinese PROVENANCE: Ravenel Autumn Auction 2013, Taipei, December 1, 2013, lot 708
HK$ 80,000 - HK$ 120,000 NT$ 339,000 - NT$ 508,000 US$ 10,300 - US$ 15,500
曾海文 抽象（雙聯幅） 水墨 紙本 70 x 100 cm 簽名右下：T'ang 海文 來源： 羅芙奧2013秋季拍賣，台北，2013年12月1日， 編號708
Ravenel 19
007
HU SHANYU
(Chinese, 1901-1993)
Fish 1978 Oil on canvas 37.5 x 45.5 cm Signed lower left Shanyu in Chinese This painting is to be sold with a certificate of authenticity issued by Chuan Cheng Art Center, Taipei and signed by the artist.
HK$ 65,000 - HK$ 100,000 NT$ 275,000 - NT$ 424,000 US$ 8,400 - US$ 12,900
胡 善餘 魚 1978 油彩 畫布 37.5 x 45.5 cm 簽名左下：善餘 附傳承藝術中心開立藝術家親筆簽名之原作保證書
Ravenel 21
008
PANG JIUN
(Chinese, b. 1936 )
Su Causeway, West Lake 2003 Oil on canvas 50 x 61 cm Signed lower right Pang Jiun in Chinese and dated 2003 Signed on the reverse Pang Jiun in Chinese and English, titled Su Causeway, West Lake , inscribed 12F and dated 2003 With one painted seal of the artist This painting is to be sold with a certificate of authenticity issued by Der-Horng Art Gallery, Tainan and signed by the artist.
HK$ 120,000 - HK$ 180,000 NT$ 508,000 - NT$ 763,000 US$ 15,500 - US$ 23,200
龐均 蘇堤情 2003 油彩 畫布 50 x 61 cm
"Su Causeway, West Lake" is a cardinal example of the amalgamation of classical elements of the late Impressionism and the spiritual poetic quality and aesthetic philosophy of Chinese ink painting, the simultaneous incorporation of these
簽名右下：龐均 2003 簽名畫背：龐均 Pang Jiun <蘇堤情> 2003 12F 手繪鈐印右下：均
sentiments results in the liberated and unrestrained lively aura
附德鴻畫廊開立藝術家親筆簽名之原作保證書
a sense of time, as the painting captivates an instantaneous
of Pang Jiun's paintings. In essence, the Impressionist notion of instantaneity is transpired through the comprehension of moment in time that is both nostalgic and modern simultaneously. The delicate movements and vibrations portrayed by the brushstrokes structuring the reflective shadow along the extremities of the two central sampans implies an air of lightness as the samples sways gently on the moving water, creating a scenery of peaceful quietude. Its spacial arrangement of the two sampans further guilds the viewers eyes towards to the leafy sprigs, brushes and tree in the background. The potent lines and simple figuration composed of a freehand style of calligraphic strokes and rhythms enhance the composition with the ethereal beauty of Western tradition further imbue by the employment of a painted-on seal mark that is Eastern in origin. 《蘇堤情》化美學、後期印象派的古典元素、中國水墨靈性詩意 為一體，龐均同時擷取各家觀點，方得成就畫作中自由不羈奔放 的清新氛圍。龐深受印象派畫風影響，透過時間感的詮釋，呈現 瞬時精髓，就如同此畫捕捉懷舊與現代的瞬間。中央兩艘舢舨尾 端的倒影，描繪出細膩的動感與震顫，暗示一襲輕風正徐徐吹拂 波光蕩漾的湖水，營造恬淡靜謐的景象。兩艘舢舨的空間配置引 導觀眾的視線，進一步移向背景的枝椏、樹叢和樹木。自由寫意 的詩意筆觸與韻律感，構成猶勁靈動的線條與簡單俐落的輪廓。 以畫筆摹繪的落款章印，將顯屬西方的技法天衣無縫地編織進東 方題材，體現了畫家中體西用的藝術美學。
Ravenel 23
009
PANG JIUN
(Chinese, b. 1936)
Guilin Landscape 2004 Oil on canvas 53 x 45.5 cm Signed lower right Pang Jiun in Chinese and dated 2004 Signed on the reverse Pang Jiun in Chinese and English, inscribed 10F and dated 2004 With one painted seal of the artist This painting is to be sold with a certificate of authenticity signed by the artist.
HK$ 100,000 - HK$ 150,000 NT$ 424,000 - NT$ 636,000 US$ 12,900 - US$ 19,400
龐均 甲天下 2004 油彩 畫布 53 x 45.5 cm 簽名右下：龐均 2004 簽名畫背：龐均 Pang Jiun 10F 2004 手繪鈐印右下：均 附藝術家親筆簽名之原作保證書
010
PANG JIUN
(Chinese, b. 1936 )
Spring in Jiangnan 2004 Oil on canvas 53 x 45.5 cm Signed lower right Pang Jiun in Chinese and dated 2004 Signed on the reverse Pang Jiun in Chinese and English, inscribed 10F and dated 2004 With one painted seal of the artist This painting is to be sold with a certificate of authenticity signed by the artist.
龐均 若到江南趕上春，千萬和春住 2004 油彩 畫布 53 x 45.5 cm 簽名右下：龐均 2004 簽名畫背：龐均 Pang Jiun 10F 2004 手繪鈐印右下：均 附藝術家親筆簽名之原作保證書
HK$ 100,000 - HK$ 150,000 NT$ 424,000 - NT$ 636,000 US$ 12,900 - US$ 19,400
Ravenel 25
011
HSIAO CHIN
(Taiwanese, b. 1935)
Tempesta Solare-3 (Solar Storm) 1988 Acrylic on canvas 90 x 70 cm Signed center right Hsiao in English, Chin in Chinese and dated 88 in Chinese Titled on the reverse Tempesta Solare-3 , inscribed Acrilico su tela 90 x 70 cm , and dated 1988 This painting is to be sold with a certificate of authenticity signed by the artist.
HK$ 220,000 - HK$ 320,000 NT$ 932,000 - NT$ 1,356,000 US$ 28,400 - US$ 41,300
蕭勤 太陽風暴 1988 壓克力 畫布 90 x 70 cm 簽名右方：Hsiao 勤 八八 簽名畫背：Tempesta Solare-3 Acrilico su tela 90 x 70 cm 1988 附藝術家親筆簽名之原作保證書
Hsiao Chin said: "The static state of the image, frozen in
time, yet allows for unlimited expression." This is one of the trademarks of Hsiao’s style. He used Western palettes and techniques to reinvent the manifold possibilities and styles of Chinese painting, and in the process he raised the human spirit to new heights. Therein lies the attraction of his art, and the reason why it resonates with an increasing number of aficionados. In the 1980s, Hsiao entered his mature period. The "Chi" series avoided a direct approach of its theme, but rather offered circumlocutory depictions of realities imbued with the underlying subject. "I do not paint 'Zen', but observe the
flow and evolution of cosmic life through the lens of Zen." Visual lines serve to channel spiritual development. Several series from the mid-1980s, including "Magnetic Waves", "Shower", "Vortice Cosmico", and "Solar Storm" are the work of a painter tempered by life, an artist who has found his very own creative language and expressive form. 蕭勤說：「經由老莊及禪的思維，延展對宇宙與我來自中國這塊 土地的眷戀和熱愛。」評論家認為，是一種潛藏著「在時間上是 靜止而無限」的「蕭勤風格」。蕭勤以西式顏料表現出中國繪畫 新的可能及風格，進而引起共鳴。 1980年代後，蕭勤的創作進入成熟時期。「炁」系列中，不直 接去解說本體，而是從本體顯現的現象去著手，「不去畫禪，而 是用禪的態度去看宇宙生命的流變。」視覺性的線條，轉換為精 神性的流動。1980年代中期的「磁波」、「陣雨」、「宇宙大 漩渦」、「太陽風暴」等系列，在生命歷練後，畫家掌握了動人 的形式語言，情感更加深刻與堅毅。
Ravenel 27
012
SHIY DE-JINN
(Taiwanese, 1923-1981)
Landscape in Puli 1979 Watercolor on paper 57.7 x 76.7 cm
席德進 埔里風景 1979 水彩 紙本 57.7 x 76.7 cm
Signed lower left Shiy De-Jinn in Chinese and dated 1979 PROVENANCE: Collection of former Director of the Shiy De-jinn Foundation, Mr. Lu Sheng-Hua (acquired directly from the artist)
簽名左下：席德進1979 來源： 席德進基金會前董事盧聲華先生收藏 (直接得自藝術家本人)
HK$ 220,000 - HK$ 340,000 NT$ 932,000 - NT$ 1,441,000 US$ 28,400 - US$ 43,900
The painting employs Western-style perspective in its composition,
tones and colors in Shiy's paintings both contrast and fuse with
reflecting the fact that, while carrying on the Chinese aesthetic
one another, sometimes drawing on aspects of the Chinese literati
tradition, Shiy De-jinn continued to make use of the skills he had
painting tradition, and sometimes incorporating the rich colors of
acquired during the period he spent studying in Europe as a
Chinese folk art. In this way, Shiy succeeds in giving a contemporary
young man. Shiy's misty, opaque painting style incorporates the
feel to his depictions of the sub-tropical colors of Taiwan's
impressionistic brushwork of traditional Chinese ink brush painting,
landscape.
while giving the brushstrokes something of the power and vigor of calligraphy, creating an innovative new way of painting.
席德進的作品採西方透視構圖，顯露其在傳承中國美學的的同時，又在 運用早年在歐洲留學之真諦。以氤氳迷濛的畫法，結合帶有中國水墨畫
The overall feeling that the painting gives the viewer is that the
寫意筆法，使筆法更具書法性的功力，建構繪畫創新的形式。
artist tried hard to make full use of the little time remaining to him, depicting the mountain landscape in a reverent, almost worshipful
畫面多給予我們的感受，是畫家企圖抓住僅剩的光陰，以一種近乎虔敬
manner. Precisely because Shiy was so deeply engrossed in the
的朝聖心情去為山林寫真，正因為極度專注投入，他聽到了山巒、河川
work, he seems to have been able to "hear" the sorrowful call of the
的聲響，也覺察到那一抹抹獨特的藍，蘊藏於山嵐雲氣之間，那是一抹
hills and the low sobbing of the rivers, and to perceive that unique
憂傷的藍，不同於傳統的墨色，或青綠山水，流露出畫家對美好河山的
blue tone's presence amidst the mist that lies between the mountain
眷戀。
peaks. This is a sad, mournful blue which, unlike the traditional ink tones of Chinese ink brush painting, or the verdant greens of many
正如席德進所言「我的山水是用西方的水彩工具傳達了東方人的深邃的
landscape paintings, reveals the artist's sorrow at saying goodbye to
情操，對自然賦以新的詮釋，我的色彩也變為中國水墨的趣味，賦予
this beautiful mountain scenery.
清新氣息與生命的活力。」墨與彩互為對比、融合，有時汲取中國文人 畫的筆墨情趣，有時注入民間藝術的艷麗顏色，將台灣亞熱帶的地域色
As Shiy himself put it, "I use Western watercolor technique in my
landscape to express the the deep oriental sentiment ,to depict the nature in a brand new way;the color in my paintings are also turned into the Chinese ink painting style,fresh and lively." The ink
彩，使其畫作別具有時代感。
Ravenel 29
013
SHIY DE-JINN
(Taiwanese, 1923-1981)
Chihsing Mountain, Tamsui 1980 Watercolor on paper 64.9 x 110 cm Signed lower right Shiy De-Jinn in Chinese and dated 1980 PROVENANCE: Collection of former Director of the Shiy De-jinn Foundation, Mr. Lu Sheng-Hua (acquired directly from the artist)
HK$ 320,000 - HK$ 550,000 NT$ 1,356,000 - NT$ 2,331,000 US$ 41,300 - US$ 71,000
席 德進 淡水七星山 1980 水彩 紙本 64.9 x 110 cm 簽名右下：席德進1980 來源： 席德進基金會前董事盧聲華先生收藏 (直接得自藝術家本人)
The tranquility and elegance of the scenery of Tamsui River is an often-seen topic in his watercolors. He once wrote, "To paint the landscape of Tamshui
River, I often rush there before the sunset so that I can see the emerging beach and the drained river bed after the tide recedes. I often wander along the bank where flocks of egrets alight, where the grass and bush thrive. I often find an abandoned sandbank and plant myself there as if I were deserted in a more primitive era. I lose myself there. Then, Mt. Guanyin rises from the plain sandbank and projects itself on the still water. The water is the sky, the sky is the water." This particular work, was painted in 1980 during the second last year of his lifetime.The most attractive feature of Shiy De-jinn's later works is probably the faint marine blue, an elegant, pure blue that strikes directly at the viewer's heart. It quietly exudes a sense of disquiet that stops the passerby in their tracks and encourages them to look closely at the painting. 淡水景色靜謐而美好，經常出現在席德進的創作之中。席德進曾經寫道：「為的 是去畫淡水景色，我常常在日落之前趕往淡水，看那退潮後浮現的沙灘，水流走 後枯竭的河床。徘徊在白鷺群棲息的江畔一片水草與雜樹叢旁。沒有人跡的沙 洲，如身臨洪荒時的大地，將自我遺忘。這時，觀音山一筆青翠從平直的沙洲昇 起，又投影在靜止的水面，水就是天。」 此幅作品創作於1980年，為藝術家生命的最後第二年所作。席德進晚期作品最吸 引人的地方，或許就是那一抹淡淡的幽藍，肅穆聖潔的藍，緊緊扣住了觀者的心 緒；它靜謚地流淌出一絲絲的憂悒，讓人不得不停佇腳步，凝神注目。
Ravenel 31
SCENERY OF NIUMIAN MOUNTAIN, PULI SHIY DE-JINN
Shiy De-jinn always paid strong attention to his expression of color, and purple was his favorite shade. In the 1960s, he often chose purple as the color of his background or the main tone in his watercolor or oil painting. His preference for purple also revealed his homosexual orientation and his quality of being sensitive, feminine, and delicate. T h e p re s e n t l o t i s a w a t e rc o l o r w i t h a m y s t e r i o u s a n d enchanting tone depicting a mist-shrouded country landscape. Located in the middle of Taiwan, with mild climate, beautiful mountains, clean water, and abundant produce, Puli has earned the name of "Small Luoyang." This painting expresses Shiy's particular aestheticism. The artist washed large pieces of objects on the paper, making the mountains and the water reflect each other. As a watercolor, it is also blended with the rich tone of ink of Chinese classical painting. This is a typical feature of Shiy's Taiwanese watercolor landscape. 席德進一向非常重視色彩的表現，而紫色是他特別偏愛的顏色。 從1960年代的水彩或油畫作品，經常選擇紫色為背景或為主調。 對紫色的偏好其實亦透露其個人同志情懷的傾向，以及性格中敏 感、陰柔、纖細的特質。 這一幅神秘迷人的水彩圖畫，描繪雲霧豐沛的山野景色。埔里位 於台灣中部，四季溫和、好山好水、物產豐饒，有「小洛陽」的 美名。此幅畫作傳達出席氏的唯美主義美學，畫中採用大片渲染 的技法，山光水色相互輝映。雖是水彩畫卻融入中國文人畫的豐 富墨韻，為席德進典型的台灣水彩風景畫特色。
014
SHIY DE-JINN
(Taiwanese, 1923-1981)
Scenery of Niumian Mountain, Puli 1979 Watercolor on paper 67.2 x 110.5 cm Signed lower left Shiy De-Jinn in Chinese and dated 1979 PROVENANCE: Collection of former Director of the Shiy De-jinn Foundation, Mr. Lu Sheng-Hua (acquired directly from the artist)
HK$ 320,000 - HK$ 550,000 NT$ 1,356,000 - NT$ 2,331,000 US$ 41,300 - US$ 71,000
席德進 埔里牛眠山 1979 水彩 紙本 67.2 x 110.5 cm 簽名左下：席德進1979 來源： 席德進基金會前董事盧聲華先生收藏 (直接得自藝術家本人)
Ravenel 33
015
SHIY DE-JINN
(Taiwanese, 1923-1981)
Autumn Landscape with Boats 1980 Ink and color on paper 68.5 x 69.5 cm Signed lower left Shiy De-Jinn and dated 1980 both in Chinese With two seals of the artist PROVENANCE: Collection of former Director of the Shiy De-jinn Foundation, Mr. Lu Sheng-Hua (acquired directly from the artist)
HK$ 170,000 - HK$ 260,000 NT$ 720,000 - NT$ 1,102,000 US$ 21,900 - US$ 33,500
席 德進 秋日泛舟圖 1980 彩墨 紙本 68.5 x 69.5 cm 簽名左下：席德進一九八○ 鈐印左下：席德進印 鈐印右上：席氏書畫 來源： 席德進基金會前董事盧聲華先生收藏 (直接得自藝術家本人)
A romantic at heart, Shiy De-jinn once wrote onto one of his paintings in poetic words, "True brightness lies in the
seasons, genuine fragrance in the soil, and real beauty in the wind and rain." These words perfectly describe the enduring charm of the artist's oeuvre. Shiy lived his whole life for art, and sublimated the hardships and suffering he experienced into works of unique aesthetic appeal, artistic treasures worthy of repeated appreciation. He demonstrated a lifelong passion for life itself; all of the beauty and richness of life can be found in his paintings. Shiy De-jinn looks at landscape through a modern eye, though in presenting it he gives it an entirely new form. He throws off wonted notions and habits, instead using nature to feel the entirety of the world. This work shows again Shiy's concern for the soil, as two boats are set against the pleasing scenery and the hardy yellow autumn trees in the foreground. Taiwan's rich beautiful landscape is figured wonderfully in Shiy's painting; his use of color is brilliant, and his composition is forcefully set. 感性浪漫的席德進，曾在自己的畫裡題上名句：「鮮艷還給季 節，芬芳還給土地，姿態還給風雨。」這些文字意境優美，傳誦 至今。席德進一生守著藝術，飲盡生命的苦泉，忍受病痛的折 磨。所有生命的豐盈、美好，皆已在他的畫中。 他用現代的眼睛去看山水，賦予全新的造型，擺脫慣有的思想、 習慣，用自然去感受一切。此作寄寓著席德進對生命的熱愛，也 展現了他對土地的關懷，岸邊的輕舟，佇立在美麗風光之中，還 有生命力象徵的橙黃秋樹。台灣豐富的景觀特色巧妙地繪寫於紙 上，用色斑斕，構成俐落大器。
Ravenel 35
016
SHIY DE-JINN
(Taiwanese, 1923-1981)
Taiwan Ali Mountain 1980 Ink and color on paper 69.2 x 137.7 cm Signed lower right Shiy De-Jinn and dated 1980 both in Chinese With two seals of the artist PROVENANCE: Collection of former Director of the Shiy De-jinn Foundation, Mr. Lu Sheng-Hua (acquired directly from the artist)
HK$ 360,000 - HK$ 550,000 NT$ 1,525,000 - NT$ 2,331,000 US$ 46,500 - US$ 71,000
Shiy De-jinn believed that the ever changing landscape always rendered him a powerful strength. His close friends often went along with him. W ith a pair of sharp eyes that were good at
席 德進 阿里山
capturing beauty, he always situated himself at the most beautiful area and waited for the perfect amount of fog to appear in order to capture the wonderful color and atmosphere of the scenery. Many
1980 彩墨 紙本 69.2 x 137.7 cm
art critics believe one of his artistic achievements lies in expressing
簽名右下：席德進一九八○ 鈐印右下：席德進印 鈐印左上：席氏書畫
Fascinated by Taiwan's natural landscape, Shiy once said proudly
來源： 席德進基金會前董事盧聲華先生收藏 (直接得自藝術家本人)
mountain scenery in Taiwan with modern Chinese painting style.
that "The mountains here are Taiwan's mountains as well as Shiy De-
jinn's. The strokes and ink here are calligraphy developed in Chin and Han, but it has an artistic concept of modern China. Since I have a good accompaniment in painting, I can grasp precise shapes. Because I am versatile, my watercolor combines the richness of oil painting and the spirit of ink wash. Other watercolorists cannot produce such a painting, and Western painters cannot create the ridgeline of my mountains and rivers, either. They are the fruit of my diligent practice in calligraphy. Each turn has its own significance. Each pause possesses its own spirit. This is modern Chinese painting, a typical creation of Shiy De-jinn." (Cheng Hui-mei, Aphrodite Sacrifice: Shiy De-jinn , UNITAS Publishing Co., Taipei, 2005, p. 257) 席德進認為在大自然裡寫生，面對千變萬化的山林美景能帶給他一股澎 湃的力量。摯友常陪同他一同賞遊作畫。他有善於發現美的眼睛，總會 停駐在最美的角度，等待最合適的雲霧出現，以追求美好的色感氣氛。 多位藝術評論家認為他的藝術成就之一，在於從台灣的山林景色表現出 現代中國畫的全新風格。 迷戀台灣自然美景的席德進曾自豪地說道：「這裡的山是台灣的山，也 是席德進的山，這裡的筆墨是秦漢的書法，這裡的意境是現代中國的意 境。因為我的素描根基好，所以對造型的把握，十分準確，因為我的涉 獵廣，所以我的水彩融合了油畫色彩的豐潤和水墨氣韻的靈動，是一般 水彩畫家畫不出來的，也是西方畫家畫不出來的─這裡山水的稜線是我
SHIY De-jinn, Wu-ling, 1979, mounted scroll, ink and color on paper 90.5 x 248 cm, Ravenel Spring Auction 2013 Taipei, US$ 260,608 sold 席德進《武陵》1979 彩墨 紙本 90.5 x 248 cm 羅芙奧台北2013春拍 NT$ 7,800,000 成交
勤練毛筆所得來，你看每一轉折都有學問在，每一頓挫都有精神在，這 就是現代的中國畫，道道地地的席德進的畫。」（鄭惠美，《獻祭美 神：席德進傳》，聯合文學出版社有限公司，台北，2005，頁257）
Ravenel 37
017
SHIY DE-JINN
(Taiwanese, 1923-1981)
Northeast Coast of Taiwan 1980 Ink and color on paper 69 x 137.5 cm Signed upper left Shiy De-Jinn in Chinese With three seals of the artist PROVENANCE: Collection of former Director of the Shiy De-jinn Foundation, Mr. Lu Sheng-Hua (acquired directly from the artist)
HK$ 360,000 - HK$ 550,000 NT$ 1,525,000 - NT$ 2,331,000 US$ 46,500 - US$ 71,000
席 德進 北宜海濱 1980 彩墨 紙本 69 x 137.5 cm 簽名左上：席德進 鈐印左上：席德進印 鈐印右上：席氏書畫 鈐印右下：四川南部縣人 來源： 席德進基金會前董事盧聲華先生收藏 (直接得自藝術家本人)
This painting belongs to Shiy De-jinn's "Northeast Coast of Taiwan" series, which were created on the north coast of Taiwan. Its composition is similar to the works collected by National Taiwan Museum of Fine Arts. With his skillful technique in watercolor and delicate changes of ink, the artist leaves strokes of "flying white" on paper. Taiwan is an island with beautiful sea landscape around every corner: the reefs stretching from Taipei to Yilan are particularly magnificent. Chiang Hsun complimented Shiy in that
"he introduced the Chinese landscape into Taiwanese paintings." Besides his sketches in the mountains and on the fields of Taiwan, Shiy's seafront landscapes of his later years are also considered masterpieces.
Shiy was a sensitive artist who had an intense fascination with the
此幅畫屬於席德進北台灣海岸寫生的「北宜海濱」系列，與國立台灣美
sea, as he expressed: "I have an unstoppable yearning for the sea.
術館的同系列館藏作品之構圖近似。採用畫家擅長的水彩技法，配合墨
Even if it is a harbor, with the air of the sea, I will also be allured…
色的細膩變化，刷在畫紙上形成「飛白」的效果，筆觸所留下痕跡。台
The waves and rocks along Taipei-Yilan Coastal Highway are
灣是一座島嶼，四處可見漂亮的海景，而台北、宜蘭一帶海岸礁岩綿
captivating and compelling." In the simple, rustic ink of "Northeast
延，風景尤其壯麗。蔣勳曾讚譽「席德進把台灣畫進中國的山水」，在
Coast of Taiwan", the artist once again emphasizes the presence
其台灣山林田野寫生之外，晚年的海岸風景的畫功亦是一絕。
of beauty, creating a landscape imagery in which ink and wash harmoniously blend together in an articulate artistic vocabulary. The
感性的畫家席德進曾留下迷戀海景的字句：「我永遠是對海有著不可遏
towering rocks complement the bold ink seem to be inspired by Li
止的渴慕，即使是海港有著海的氣息，我也同樣感到沉醉。」「北宜海
Keran.
濱公路沿途崖石浪花令人蕩漾不已…」在簡約、樸實的《北宜海濱》彩 墨裡，畫家再次發現美的存在，創作出水墨交融、語彙豐富的山水意 象。岩峰聳立、大塊墨韻，頗有幾分李可染的影響。
Ravenel 39
An artist of almost legendary status, Yu Cheng-yao had no formal art training, and belonged to no particular school of painting; through constant travelling, study, poetry composition, calligraphy practice, declamation and study of music, he succeeded in becoming, towards the end of his life, the creator of a series of awe-inspiring, mystical landscape paintings. Yu Cheng-yao strove to realize something more than the conventional representational techniques of traditional Chinese painting; he sought to portray the reality of the underlying structure of the landscape, creating real landscapes characterized by serried peaks, complex shading, spontaneity and a down-to-earth simplicity of expression. The inspiration for Yu Cheng-yao's landscape paintings came from his memories of travelling across the imposing mountain ranges of Northwest and Southwest China. His incredible memory allowed him to recreate majestic, beautiful scenes that leave the viewer open-mouthed with admiration. Having had no-one to
MOUNTAIN PEAKS IN THE CLOUDS YU CHENG-YAO
tutor him in painting, and no formal academic training in the arts, Yu took nature itself as his teacher; taking as his subject matter the countless famous mountains and great rivers that he had seen during the course of his travels in China and in Taiwan, Yu employed a finely detailed texturing technique and his own unique artistic lexicon and compositional style to create dozens of visually striking landscape paintings that have a pronounced emotional impact on the viewer. This particular work by Yu Cheng-yao features a range of mountain peaks in distance, with a dense composition in which the mountains seem to press hard against one another. The foreground depicts secluded valleys, portrayed in a smooth, flowing style. The combination of soft shading and vigorous texturing brings across the majesty of the mountain peaks, along with an inspiring sense of vitality. Viewed as a whole, the painting demonstrates a skillful variation in brushwork techniques that creates a layered, dense landscape; the rocks in particular seem imbued with a sense of power that is quite striking. The "threedimensionality" of Yu Cheng-yao's landscapes is one of the most entrancing features of his work. Yu himself believed that this three-dimensionality derived from his passion for traditional nanguan music, in which multiple parts merge to form a coherent ensemble structure. Yu's combination of long and short brushstrokes, consistently firm and precise, creates a richly-textured pattern of rocks and trees; within each carefully composed scene, the artist takes pains to bring across the earthy simplicity of the landscape and its raw power. 余承堯，這位被大多數人視為傳奇及異數的創作大家，無特別的師承，也非正統科班 出身，卻憑借其未間斷的遊歷、讀書、寫詩、煉字、吟詠山川以及研究音樂戲曲，成 就出晚年一幅幅雄偉飽滿又幽深靈動的自然景致。余承堯所要追求的，並非傳統繪畫 中的筆墨表現形式，而是山川結構的真實呈現，一種層層交疊、濃淡互滲、隨興之所 至，質樸坦率的「真山真水」。余承堯的筆墨山水，源自於記憶裡行踏中國西北、西 南的崇山峻嶺而來，他以驚人的記憶力，再現了山水中令人瞠目結舌的崇高與瑰麗。 雖然沒有師承、沒有受過學院派紮實的訓練，但是他以大自然為師，將他一生在大 陸、台灣閱歷的無數名山大川，以他細碎密結的皴擦筆法、獨創的繪畫語言及構圖形 式，創作出一幅幅足以撼動觀者心靈的峻奇山水畫作。 本件拍品以遠景峰峰相連，構圖緊湊，綿密厚實；近景空谷傳幽，布局疏朗，層疊有 序。淡筆起稿，亂筆皴擦，不僅堆疊出巍峨的山勢，同時也表現出震懾人心的生命情 思。通體觀之，能以充滿變化的筆墨線條，寫就層次分明且畫面飽和的大山大水，特 別是其強勁有力的石質趣味，尤讓人印象深刻。「層次感」是余承堯山水畫中一個非 常迷人的風格特色，而他認為這個層次感係源自南管的「多線性的合奏結構」。一貫 細膩而結實的長短筆調，綿密地鋪陳出層次豐富的山石與青木，並在安排嚴謹的結構 形式中，刻意體現重重山水質樸又敦厚的力量。
018
YU CHENG-YAO
(Taiwanese, 1898-1993)
Mountain Peaks in the Clouds 1986 Ink on paper 121.5 x 60.5 cm Signed upper left Yu Cheng-yao and titled Mountain Peaks in the Clouds in Chinese With one seal of the artist PROVENANCE: Hsiung Shih Gallery, Taipei Acquired from the above by the present owner in November 1986 This painting is to be sold with a photocopy of the certificate of authenticity issued by Hsiung Shih Gallery, Taipei.
HK$ 400,000 - HK$ 600,000 NT$ 1,695,000 - NT$ 2,542,000 US$ 51,600 - US$ 77,400
余承堯 峰高入雲 1986 水墨 紙本 121.5 x 60.5 cm 簽名左上：峰高入雲余承堯作 鈐印左上：余承堯印 來源： 雄獅畫廊，台北 現有收藏者於1986年11月購自上述來源 附雄獅畫廊保證書影印本
Ravenel 41
019
LIU KUO-SUNG
(Taiwanese, b. 1932)
Between Clouds and Trees 1968 Ink and color on paper 72.5 x 45.5 cm Signed lower left Liu Kuo-Sung and dated 1968 both in Chinese Signed on the reverse Work of Liu Kuo-Sung in Chinese, titled Between Clouds and Trees in Chinese, inscribed 72.5 x 45.5 cm and dated 1968 With one seal of the artist EXHIBITED: The Universe in the Mind - Master Liu Kuosung Painting 60 Years Retrospective Exhibition , National Dr. Sun Yat-sen Memorial Hall, Taipei, March 11 - April 7, 2009 ILLUSTRATED: The Universe in the Mind - Master Liu Kuosung Painting 60 Years Retrospective Exhibition , National Dr. Sun Yat-sen Memorial Hall, Taipei, 2009, color illustrated, p. 47 Surrounding Mountains, Towering Peak, Liu Kuo-Sung Ink Painting Exhibition , Loftyart Gallery, Taipei, 2014, color illustrated, p. 49 This painting is to be sold with a certificate of authenticity issued by Loftyart Gallery, Taipei and signed by the artist.
HK$ 500,000 - HK$ 750,000 NT$ 2,119,000 - NT$ 3,178,000 US$ 64,500 - US$ 96,800
The Abstract landscape series are executed with the unitization of cursive calligraphy, coupled with the medium "Liu Kuo-sung paper" and the technique of "texturized cracked peeling", the compositions are filled with sinuous black lines and the white lines resulting from the texturized peeling effects on the paper. These white lines further extenuate the dynamics of the abstract quality and the ethereality of these landscape paintings, presenting the viewer with an unprecedented new visual experience.
劉 國松
British Chinese art historian Michael Sullivan describes Liu
雲樹間
Kuo-sung's technique of “texturized cracked peeling”,
1968 彩墨 紙本 72.5 x 45.5 cm 簽名左下：劉國松一九六八 簽名畫背：劉國松作 雲樹 1968 72.5 x 45.5 cm 鈐印左下：劉 展覽： 「宇宙心印 – 劉國松繪畫一甲子」，國立國父紀念館，台北， 展期自2009年3月11日至4月7日
remarking that "He utilized the texture on the paper itself
in incorporating the torn tendon effects, the resulting composition exhibit the electrifying sparks-liked lines that cross and travel between the crags. These works are not only infused with exquisite liveliness, transpiring a sense of magnificence and moving beauty." (Surrounding Mountains, Towering Peak , Liu Kuo-Sung Ink Painting Exhibition, Loftyart Gallery, Taipei, 2014, p. 18). 抽象山水系列作品係以狂草筆法入畫，加以「劉國松紙」媒
圖錄： 《宇宙心印 – 劉國松繪畫一甲子》，國立國父紀念館，台北， 2009，彩色圖版，頁47 《眾山環抱一峰高：劉國松水墨畫展》，高士畫廊，台北，2014， 彩色圖版，頁49
材及「抽筋剝皮皴」技法，畫面上不僅有黑色線條，還出現
附高士畫廊開立藝術家親筆簽名之原作保證書
英國的中國藝術史學家蘇立文（Michael Sullivan）形容劉國
紙筋剝離後所形成的白色線條，以白色線條呈現抽象山水的 動感與空靈，帶給觀者在傳統山水作品中史無前例的嶄新視 覺經驗。
松的「抽筋剝皮皴」說：「他運用紙張本身的紋理，在紙上 撕下粗糙的紙筋，因此在畫中就顯出絲絲宛如電光火花的紋 路，在巉岩中穿越併發。這些作品不只看來栩栩如生，而且 肌理優美動人。」（眾山環抱一峰高：劉國松水墨畫展，高 士畫廊，台北，2014，頁18。）
Ravenel 43
020
LIU KUO-SUNG
(Taiwanese, b. 1932)
Lunar Halo 1970 Ink and color on paper 75.8 x 55.6 cm Signed lower right Liu Kuo-Sung and dated 1970 both in Chinese Signed on the reverse Work of Liu Kuo-Sung in Chinese, titled Lunar Halo in Chinese, inscribed 75.8 x 55.6 cm and dated 1970 With one seal of the artist EXHIBITED: The Universe in the Mind - Master Liu Kuosung Painting 60 Years Retrospective Exhibition , National Dr. Sun Yat-sen Memorial Hall, Taipei, March 11 - April 7, 2009
From the late 1960s, Liu Kuo-Sung’s works have been incorporated into at least 87 museum collections, including the 2010 collection of the British Museum, which exhibited "Merging of the Moon and the Sun" from the 1970 series "Space." This is affirmation of Liu’s personal achievements and prove that the most
ILLUSTRATED: The Universe in the Mind - Master Liu Kuosung Painting 60 Years Retrospective Exhibition , National Dr. Sun Yat-sen Memorial Hall, Taipei, 2009, color illustrated, p. 71 Surrounding Mountains, Towering Peak, Liu Kuo-Sung Ink Painting Exhibition , Loftyart Gallery, Taipei, 2014, color illustrated, p. 72
important Western museums are starting to value works
This painting is to be sold with a certificate of authenticity issued by Loftyart Gallery, Taipei and signed by the artist.
moon is shining bright in the sky with an aura clearer
of contemporary Chinese ink wash. Collectors especially admire the originality of this series. The moon, serene and fair, has always been a great inspiration to poets and artists. A writer once wrote, "The
than water. Mists spray themselves onto this lustrous disc, covering up its coyness and creating a mysterious touch
HK$ 700,000 - HK$ 1,100,000 NT$ 2,966,000 - NT$ 4,661,000 US$ 90,300 - US$ 141,900
to its surrounding. Seen from afar, the moon intoxicates us with its enigma - the hazy halo seems to be telling us a message, making everything more wonderful." This work, "Lunar Halo," shows the halo of the full moon. The colors are calming and elegant, and the longer one looks
劉 國松 月暈圖 1970 彩墨 紙本 75.8 x 55.6 cm 簽名右下：劉國松一九七○ 簽名畫背：劉國松作 月暈圖 1970 75.8 x 55.6 cm 鈐印右下：劉 展覽： 「宇宙心印 – 劉國松繪畫一甲子」，國立國父紀念館，台北， 展期自2009年3月11日至4月7日 圖錄： 《宇宙心印 – 劉國松繪畫一甲子》，國立國父紀念館，台北， 2009，彩色圖版，頁71 《眾山環抱一峰高：劉國松水墨畫展》，高士畫廊，台北， 2014，彩色圖版，頁72 附高士畫廊開立藝術家親筆簽名之原作保證書
at it, the more one would appreciate it. Due to his love for it, Liu Kuo-Sung has devoted his life to mastering the art of ink wash. Even though most of the subjects are from his daily life, his works are really about how nature affects our minds and reflect a worldview that covers the entire universe. The concrete natural objects in his works actually have abstract and grand meanings. 從1960年代後期至今，劉國松的作品至少為全球87間博物館 所典藏，包括2010年大英博物館收藏了1970年的「太空畫系 列」作品《日月浮沉》。這不僅是對劉國松個人的肯定，亦 說明了西方重要博物館開始重視中國現代水墨藝術，而此系 列作品的開創性，也使其格外受到藏家們的愛戴。 一輪明月皎潔，自古以來總引發中外詩人墨客不盡其數的聯 想與詠嘆。有位作家曾如此寫道：「浩月當空，清輝似水， 漸漸的，霧靄升起，清澈的玉盤被蒙上羞澀的棉紗，周圍出 現了一個彩色光環。遠遠望去使人如入夢幻，迷茫中，那光 環飄飄忽忽，透露著一種神秘的意蘊，一切彷彿變的更加美 好。」此件拍品《月暈圖》滿月朦朧，用色特別清麗典雅， 愈加賞味愈見其不凡，耐人細品。基於對水墨畫的熱愛，劉 國松投入畢生精神研究，而創作取材雖然來自於生活，然其 視野宏觀宇宙，探討自然對於心靈的影響，從具體的山川樹 林泉石的描繪，轉向抽象且莊嚴的意象。
Ravenel 45
021
HSIA YAN
(Taiwanse, b. 1932)
Pedestrian No.1 1973 Oil on canvas 123 x 153 cm Signed on the reverse YAN HSIA , titled "PEDESTRIAN NO.1" , inscribed 60" x 48" OIL ON CANVAS and dated 1973 EXHIBITED: Reflections of the Seventies: Taiwan Explores its Own Reality , Taipei Fine Arts Museum, Taipei, February 14 - May 16, 2004 ILLUSTRATED: Reflections of the Seventies: Taiwan Explores its Own Reality , Taipei Fine Arts Museum, Taipei, 2004, color illustrated, p. 157
HK$ 850,000 - HK$ 1,300,000 NT$ 3,602,000 - NT$ 5,508,000 US$ 109,700 - US$ 167,700
夏陽 行走的人 1973 油彩 畫布 123 x 153 cm 簽名畫背： YAN HSIA 1973 "PEDESTRIAN NO.1" 60" x 48" OIL ON CANVAS 展覽： 「反思：七○年代台灣美術發展」，台北市立美術館，台北， 展期自2004年2月14日至5月16日 圖錄： 《反思：七○年代台灣美術發展》，台北市立美術館，台北， 2004，彩色圖版，頁157
Ravenel 47
PEDESTRIAN NO.1 HSIA YAN
Hsia Yan was born in 1932 in Hunan, China, and came to Taiwan in
Léger’s tubism, expressionism, and surrealism. Furthermore, he
1949 along with the Nationalists. He learned tecniques of painting
has also explored folk art and the theory of lines and structures in
from the senior artist Li Chun-Shan, and established the "Group of
Chinese art. This has helped him develop a good grasp of the critical
Oriental Painters" with other art students. He was also a member
differences between Oriental and Western art. Using his knowledge
of "The Eight Bandits," a group that challenged the traditional
in abstract art and techniques for color contrast, Hsia paints the
art forms. He then went to Paris alone to learn Western art, and
lights and shadows against the dark background skillfully, clearly
started composing the works for the series "The Furry People".
capturing both the "pictorial" and the "expressional" in his works.
In 1968, he settled in New York, and, influenced by photorealism, he painted New York sceneries with great precision. For instance,
夏陽，1932生於中國湖南，1949年隨著軍隊來到台灣，跟隨前輩藝術
the blurry pedestrians in his paintings seem to be the work of long
家李仲生習畫，並與眾門生一同組成「東方畫會」，為「八大響馬」一
exposure photography. From 1990 and onwards, Hsia redirected his
員，挑戰傳統藝術的形式。後來隻身赴巴黎學習西方藝術，開始創作極
attention to folk art and arts based on traditional myths. It is also
富個人特色的「毛毛人」系列作品。1968年移居紐約，受當時照相寫實
in this decade that he developed the metal slices for "The Furry
的風潮影響，用畫筆精準地捕捉紐約街景，呈現如攝影長時間曝光般的
People". Hsia Yan moved back to Taipei in 1999 and has been living
模糊熙攘行人。1990年後將創作重心聚焦在傳統神話和民間美術的現代
in Shanghai since 2002. He once said, "The real communication in
語言，亦發展「毛毛人」的金屬片雕。夏陽於1999年搬回台北，2002年
art happens when local artists incorporate titbits of foreign culture
移居上海生活、創作至今。他曾說：「真正的藝術交流是本國的藝術家
into their art, but still keep the local style as the pillar of their work."
把文化的觸鬚伸展到國外，但自己創作的本體，依然系於國內」是夏陽
With this philosophy in mind, Hsia Yan has always reproduced the
一貫的信念。在此形象之中，夏陽很傳神地再現了人在現代主義城市文
speediness and bustling of modern society vividly on canvas. This
明中，熙來攘往的忙碌與速度感。這樣的存在，帶著空虛與荒涼。
sort of existence bears a bit of emptiness and loneliness. 此幅作品創作於1973年，也正值普普藝術在美國流行期間，同時推動
This work was created in 1973. It was during the time when pop
了美國照相寫實繪畫，在這場前衛藝術運動中，夏陽也成為紐約照相寫
art was spreading in the US and photorealism was rising. In this
實主義的代表人物。作品用其獨創自由繪畫的方式，潛心規劃出畫面構
contemporary art movement, Hsia Yan also became a representative
圖，靈感又不由自主地意隨心動，任由神來之筆揮灑自如，畫意就此落
for photorealism in New York. Spontaneous images and ideas freely
落而生。畫面定格在一瞬間的「當下」而這個「當下」無關乎實際的時
roam in Yan’s careful and detailed composition and are expressed
長或短，端倪源於此刻的行走。而這個被定格的行走，不受時空羈絆，
with the artist’s unique skills. The picture seems to be frozen at the
可以是以往的過去，可以是此刻的當下，更可以是將至的未來。夏陽的
momentary "present", and it is impossible to discern the length of
藝術向來是用極具張力和想像力來表現出自然靈動的繪畫語言，將自己
"the present" – because all that is presented is the walk at the very
的體悟隨性運用，才可創作出這樣的優秀作品。
instant. And this freeze-frame shot of walk is not tied to time; it may be a moment of the past, the present, or even the coming future.
輾轉遊走於三大洋之間，影響遍及歐美東亞，被稱為台灣現代藝術發展
There is always much space for imagination in Hsia Yan’s art, and all
先驅的夏陽，似乎始終保持在一種冷眼旁觀的凝視之中。最初從事新
elements fit together quite naturally. Only an artist who readily gets
古典主義的製作，然後受機械主義、表現主義及超現實主義的影響和啟
inspired from their surroundings can create such excellent work.
示，並同時研究中國的線底結構原理和民間藝術之特質。探討東西藝術 思想之差異者有之。著墨抽象創作多年，運用色彩對比，營造出黝暗中
Having spent his time in three continents, Europe, America, and
的光影，使作品呈現強烈純粹的「繪畫性」與「表現性」皆有之。
East Asia, Hsia Yan is deservedly named as a pioneer in Taiwan’s contemporary art. Hsia has always been a careful observer and learner of art history. His inspiration has come from neoclassicism,
Ravenel 49
022
TZU-CHI YEH
(Taiwanese, b. 1957)
Rear Window, Summer Afternoon 1989-1990 Tempera and oil on canvas 51.5 x 183 cm Signed lower right Tzu-chi Yeh in Chinese and dated 1989-90 EXHIBITED: Tzu-chi Yeh: Through the Landscape of the Mind 1988-1996 , Jia Art Gallery, Taipei, January 11 - February 6, 1997 ILLUSTRATED: Tzu-chi Yeh , Jia Art Gallery, Taipei, 1997, color illustrated
HK$ 1,000,000 - HK$ 1,500,000 NT$ 4,237,000 - NT$ 6,356,000 US$ 129,000 - US$ 193,500
葉子奇 夏日•後窗 1989-1990 卵彩 油彩 畫布 51.5 x 183 cm 簽名右下：葉子奇 1989-90 展覽： 「葉子奇個展：走過風景的心情 1988-1996」， 家畫廊，台北，展期自1997年1月11日至2月6日 圖錄： 《葉子奇》，家畫廊，台北，1997，彩色圖版
Ravenel 51
Tzu-chi Yeh's paintings have always combined composition that has a strongly contemporary feel to it with an air of classical elegance. Over a period of nearly six decades of learning and self-cultivation that spanned both Chinese and Western culture (Yeh had lived in Taiwan until he was nearly thirty, before spending nearly two decades in the West, and then returning to Taiwan for almost a decade.) Yeh's artistic training and spiritual cultivation has displayed a high degree of cross-cultural depth and breadth. Born in the town of Yuli in the Hua-tung Rift Valley in Eastern Taiwan, Yeh grew up surrounded by mountains. Yeh's father, who was born in the last years of the Qing Dynasty, was a highly-cultured man with a love of traditional Chinese painting, calligraphy and poetry. Deeply influenced by his father, Tzu-chi Yeh displayed considerable talent at Chinese painting and calligraphy from a young age, while also developing an in-depth knowledge of Chinese poetry and prose; he was able to appreciate the philosophical
underpinnings of traditional Chinese
landscape painting. Yeh's own landscape
paintings, with their combination of
rational exploration and emotional that can be achieved by positioning Chinese and Western art. The phenomenologist Maurice Merleau-
painting is not the automatic product of must be the result of struggle, a symbolic
REAR WINDOW, SUMMER AFTERNOON TZU-CHI YEH
expression, embody the immense power oneself at the shifting border between
Ponty once said that "the depth of a
perspective or photographic realism; it icon that goes against the foundations of
reality." Seeking depth in his paintings
has always been one of Tzu-chi Yeh's
goals. Through a process of creating
layered washes, Yeh establishes a sense
of depth that arises out of the colors used in the painting; whether bright and exuberant or dark and gloomy, Yeh's paintings are always in a state of transformation. The way Tzu-chi Yeh approaches the structure of his paintings is different from that of most realist artists. Yeh's construction of realism derives from the inherent "codes" of nature, like a distant, primitive echo, an invisible source of artistic inspiration that reawakens a magic that had long since disappeared. Tzu-chi Yeh's works are the truthful reflection and records of his life. As such, the viewers can see the ups and downs of the different periods in his life. For the artist himself, his works also carry important meanings and memories. His landscape works are often realist, but with a hint of the mystical, creating a sensation that brings the viewers into an concerte realm. The modern, minimalist composition creates profundity and remoteness, adding a strong and poetic feel to the work. There is always a sense of calm human warmth beyond the details and the realism. Through his unique stylistic elements for paintings, Yeh brings us boundless imagination within the finite boundaries of his work.
Tsu-chi Yeh's creations often take a lot of time, infusing his works with much personal sentiments. In this work, for example, the artist stated "One can see from the windows that several trees of heaven have sprouted in the backyard
of the old apartment - a scene seen everywhere in New York, but more importantly, a scene that reminds me of my mother's love for eating Chinese toons. I painted this in midsummer, when the lights and shadows had been moving and changing lazily on the old murals, and I had worked unhurriedly accordingly. That autumn, my father had passed away, and as the leaves of the trees of heaven fell, counting those changes of light on the murals became a process for healing. During this period, there were struggles, self-control, and commemoration."
Tzu-chi YEH, Big Banyan Tree , 2013-2014 tempera and oil on linen, 152.5 x 152.5 cm Ravenel Autumn Auction 2014 Taipei US$ 462,576 sold
Tzu-chi YEH, Mist, Lao River, Hualien , 2014-2015, tempera and oil on linen, 102 x 223.5 cm Ravenel Spring Auction 2015 Taipei, US$ 466,775 sold 葉子奇《霧來．荖溪．花蓮》2014-2015 卵彩 油彩 亞麻布 102 x 223.5 cm 羅芙奧台北2015春拍 NT$ 14,400,000 成交
葉子奇《大榕樹》2013-2014 卵彩 油彩 亞麻布 152.5 x 152.5 cm 羅芙奧台北2014秋拍 NT$ 14,400,000 成交
葉子奇的繪畫一直具有當代感知強烈的構圖與濃郁的古典氛圍。在他近六十多年跨中西文化的孕育、薰陶與學習交融下（前 三十年在台灣，而後近二十年在西方，再回到台灣也近十年），他的繪畫訓練與精神素養有著跨文化的深度與廣度。出生在 花東縱谷的玉里鎮，從小看山長大，葉子奇的父親生於晚清有豐富的文史底蘊，喜愛書畫詩詞，他深受影響，從小展現書畫 才能，博覽詩詞文學，對中國書畫感性寄情的山水哲思深有領會。他的風景繪畫，在理性思考與感性抒發的交替更迭中，展 現了中西藝術美學上朦朧曖昧的巨大張力。 現象學大師梅洛•龐蒂曾說「繪畫的深度不是透視的建構或攝影真實性的自動財產，它必須是有鬥爭性的，是經常反對基礎 性的圖案代表。」追求繪畫的深度，一直是葉子奇努力的目標，透過層層敷染的過程中，建立作品色彩所引發的深度，無論 明亮跳躍或沉鬱陰暗，都富於變化。葉子奇對畫面結構的處理和一般寫實畫家不同。他真實性的建構意象是來自於自然原型 的密碼，像遙遠的原始回聲，一個看不見的藝術性激發來源，喚起一個消失的魔幻意象。 創作是葉子奇生活忠實的反映與紀錄，因而可看到其在不同人生歷程當中心境的更迭轉換，對藝術家而言亦充滿了重要的意 義和回憶。他的風景中呈現出的似真似幻的氛圍，常將觀者推入一個具象的領域，現代極簡的構圖，予人強烈詩意氛圍的幽 邈深邃。在精確寫實的景物下，總透著一份深刻沈穩的人文情感。經過他極為個人化的繪畫語彙，帶領我們在有限的邊界 中，找到了無限延伸的想像。 葉子奇的作品常常需要冗長的創作時間，並飽含著個人情感。如本件作品，藝術家自述：「老公寓的後院窗前長出了好幾株 樗樹，在紐約四處可見它發旺的生機，初見時，想到母親愛吃的香椿。畫的時節是盛夏，夏日的光影在新與舊的磚牆上緩慢 的移動和變化，畫作的進度也是緩慢的。那年秋天，父親辭世，樗葉飄零，細數磚頭光影的變化，成為一種療傷止痛的過 程。期間有掙扎，有自制，也有緬懷。」
Ravenel 53
023
CHU TEH-CHUN
(Chinese-French, 1920-2014)
Hiver III 1985 Oil and gouache on paper 73 x 55 cm Signed lower right Chu Teh-Chun in Chinese and French, dated 85 Signed on the reverse Chu Teh-Chun in Chinese and French, titled Hiver III , inscribed 73 x 55 cm 970099 and dated 1985
HK$ 1,400,000 - HK$ 2,100,000 NT$ 5,932,000 - NT$ 8,898,000 US$ 180,600 - US$ 271,000
朱 德群 雪景 1985 油彩 水粉 紙本 73 x 55 cm 簽名右下：朱德群 CHU TEH-CHUN 85 簽名畫背：朱德群 CHU TEH-CHUN 1985 "Hiver III" 73 x 55 cm 970099
Ravenel 55
The "Snow Scenes Series" of Chu Teh-chun were regarded as
neige, ou l'hiver sur le bois de Vincennes qui lui inspire les bleus
a stroke of genius. His early white-tone abstract paintings were
froids, les gris et les blancs poudreux de présence hivernale, ou
never as astonishing and marvelous as the "Snow Scenes Series"
le diptyque de fluides cristaux. Mais il n'a pas besoin de la réalité
composed from 1985 to 1989. The series was a milestone in Chu
pour éprouver son désir de nature, tout se résout chez lui en un
Teh-chun's career. That opportunity started from a throb on the
épanouissement progressif comme une succession d'éclosions; son
natural beauty and resulted in poetic and memorial achievement.
pays se nomme peinture. «Le pinceau sert à faire sortir les formes du chaos» écrivait Shitao.) (Pierre Cabanne, "Chu Teh-chun: Une
In 1985 on his way to Geneva by air, Chu Teh-chun was suddenly
peintiure d'effusion et de celebration", Chu Teh-chun exhibition
attracted by the fantastic Alpine scenery outside the window,
catalogue, Shanghai Museum, 2000, p. 17)
mountain peaks and lands covered in white snow and surrounded by fog, and the changeable and clearly structured white colors of cloud
Chu Ko once said that "Chu is a master who has used oil painting to
and fog, of snow and frost. All of a sudden an image from Chinese
express the spirit of Chinese ink-wash painting" . Li Lin-tsan, former
poems in the Tang Dynasty appeared in his mind. On his return
associate director of the Taipei's National Palace Museum also said:
journey by train, he was once again surprisingly inebriated by the
"Chu Teh-chun and Zao Wou-ki both use oil paint to create ink-wash
totally different magnificent snowstorms of the Alps. These journeys
paintings." Their Eastern cultural features are unique in Western
of discovery inspired him to create the beautiful and meaningful
artistic circles. Both artists studied Chinese and Western art and
"Snow Scenes Series".
both are keen on poetry and art. Their early backgrounds were of great help to their paintings. They both graduated from Hangzhou
Pierre Cabanne, the famous French art critic once wrote: "A real
National College of Art, and both were influenced by the great
painting results from memory." The lyric paintings of Chu Teh-
master Lin Fengmian. They absorbed an extensive array of new
chun are also pictures from his memory. His paintings reflect the
knowledge not only Western realistic and factual sketching skills,
spirit of traditional Chinese mountain – water paintings. They guide
but also calligraphy and ink-wash painting. Chu Teh-chun's paintings
us to a brand-new world. From his brushwork, use of color and
were especially influenced by Chinese poetry. A literary refinement
structure, viewers can enjoy a spiritual journey. Pierre Cabanne and
was gradually and naturally infused into his paintings. Chu Teh-
Chu Teh-chun knew each other for many years. This author of the
chun said: "The combination of Oriental and Western culture should
1967 "Entretiens avec Marcel Duchamp" (Interviews with Marcel
not be a simple mixture, but the integration of minds and ideas. I
Duchamp) pointed out the inspiration of natural mountains and
received my education in China, so my oil paintings are abstract
waters to Chu Teh-chun's paintings: "Chu Teh-chun's painting is
paintings with a Chinese poetic spirit. I'm inclined to the artistic
also a journey, a great hike through an imaginary country so his
atmosphere of the Tang and Song Dynasty."
work is reflection. With a starting point in China he has conquered the entire world, yet he doesn't paint places, but phenomena which
"Snow Scenes Series" completed between 1985 and 1989 and the
are suggested to him. Niagara falls, for example, or what he feels
scarcity is what made it fervently pursued by Chu Teh-chun's fans.
when he sees the horizon at sea, mountains, a view of the alps
Chu Teh-chun recalls the snow scenes he had encountered during his
in a snowstorm from a flight, or winter in the Bois de Vincennes,
travels that had inspired him to paint this exquisite series. He said:
which inspires the cold blues, grays and white powdery presence
"I have done many paintings with various shades of white, inspired
of winter, or the duality of frozen fluid. But he did not need reality
by the snow-capped mountains I saw in the Alps while traveling in
to test his desire for nature, and all is resolved in his inner self in a
Geneva. On a cloudy day, the white from the sea of clouds and the
progressive development like a succession of revelations; his realm
white of the snow were clearly discernible and changing constantly.
is called painting, 'The brush is used to remove chaos.', according to
This phenomenon filled my mind with images of clouds continuously
a quotation from Shitao" (Pierre Cabanne, "Chu Teh-chun: A Painter
floating on a bed of white. My spirit felt as though it was floating up
of Effusion and Celebration" Chu Teh-chun Exhibition Catalogue,
and down in concert with the changes in the shade and density of
Shanghai Museum, 2000, p. 17)
that scene and in a flash, many of the familiar images portrayed in the Tang poems rushed into my head. I simply could not wait to go
[Original Text in French]
home and put these images on canvas.. I wanted to capture in paint
(Le peinture de Chu Teh-chun est aussi un voyage, mieux une
my feelings in that moment.." This Lot was created in 1985 right
randonée à travers le pays imaginaire dont son oeuvre est le reflet.
after Chu's trip to the Alps. It is a very important work of the "Snow
Partie de Chine elle a conquis la planète entière; pourtant il ne peint
Scenes Series", and it is emotionally meaningful to the artist himself
pas de lieux, mais ce que les phénomènes lui suggèrent, les chutes
as well.
du Niagara par exemple, ou qu'il ressent devant l'horizon marin, des montagnes, le survol des Alpes en avion dans une tempête de
朱德群的「雪景系列」被形容為神來之筆，儘管他早年曾有白色調的抽象圖畫，但從未如1985-1989年間完成的「雪景系列」 作品教人驚嘆，更成就出個人生涯的重要里程碑。那段機遇緣起於一份對自然美景的悸動，充滿詩情與回憶的結合。1985年 一次飛往日內瓦的班機上，途經阿爾卑斯山，朱德群突然被窗外景色吸引，白雪皚皚覆蓋的高峰大地，山巔雲霧瀰漫，美不 勝收。尤其是白色變化無窮 – 雲霧之白、霜雪之白，層次分明，充滿變化，中國唐詩的意象突然湧現心中。回程乘火車時再 遇阿爾卑斯山暴風雪的壯觀景象，又是另一番驚喜，這趟發現之旅啟發他創作出雋永的冬日雪景系列。 法國知名藝評家皮耶．卡班（Pierre Cabanne）曾寫過︰「真實的繪畫來自回憶」。朱德群以自身回憶譜寫出一幅抒情的圖 畫，而這些繪畫具有中國傳統山水的精神，可以將人帶入一個新的世界。觀者藉由他的筆法、用色和結構，也展開一趟精神 遨遊。皮耶．卡班和朱德群相識多年，這位1967年撰寫《杜象訪談錄》的作者，道出自然山水對朱德群藝術的啟發：「朱德 群的繪畫也是一種旅行，更好的說法，那是穿越想像國度，反映在作品裡的遠遊，從中國出發，然後征服全世界。儘管他不 是描繪某些真實場景，而是各種現象對於他的啟示，比如說尼加拉瓜瀑布；或乘著飛機越過大海，高山；暴風雪裡疾掠過阿 爾卑斯山；或是巴黎萬桑森林的冬日，凡此種種感受啟發了《寒》及雙聯作《剛與柔》裡冷寒的藍、粉狀的灰與白。他無須 以現實證明自身對自然的熱愛，之於他，一切都如花朵綻放般，循序漸進地開展了。他的國度名稱即是繪畫，正如石濤所寫 『闢混沌者，舍一畫而誰耶』？」（皮耶．卡班，〈朱德群的畫：抒發心性，讚美自然〉，《朱德群畫展目錄》(上海博物 館，2000），頁17）
Left to right 由左至右 CHU Teh-chun, Nature hivernale , 1987-1988, oil on canvas, 130 x 97 cm, Ravenel Spring Auction 2013 Hong Kong, US$ 2,247,423 sold 朱德群《冬之自然》1987-1988 油彩 畫布 130 x 97 cm 羅芙奧香港2013春拍 HK$ 17,440,000 成交 CHU Teh-chun, Voiler VI, 1986, oil on canvas, 50 x 65.5 cm, Ravenel Spring Auction 2013 Taipei, US$ 681,590 sold 朱德群《雪幕》1986 油彩 畫布 50 x 65.5 cm 羅芙奧台北2013春拍 NT$ 20,400,000 成交 CHU Teh-chun, Hiver I , 1985, acrylic on paper, 74.5 x 55 cm, Ravenel Autumn Auction 2014 Taipei, US$ 366,206 sold 朱德群《冬之一》1985 壓克力 紙本 74.5 x 55 cm 羅芙奧台北2014秋拍 NT$ 11,400,000 成交
楚戈曾說「朱德群是用油畫畫出中國水墨畫精神的大師」，已故前故宮博物院副院長李霖燦也說「朱德群和趙無極都用油彩畫水 墨畫」。他們的東方文化特色，在西方藝壇獨樹一幟。兩人中西兼修，雅好詩詞文藝，其出身背景有極大助力。他們都畢業於杭 州藝專，受到校長林風眠的影響，多方吸收新知，既有優異的西方素描寫實功力，又擅長書法水墨畫。尤其中國詩詞對朱德群的 繪畫有深刻的影響，文化的修養潛移默化，自然而然也融入創作中。朱德群曾說：「東西融合不是東西拼湊，而是思想的融合。 我是在中國受的教育，所以我的油畫是具有中國詩意的抽象畫。我比較傾向於唐宋時代的藝術意境。」 1985至1989年之間所發展出的「雪景系列」，即是評價極高的巔峰之作，此系列作品數量少，因其稀有性，一直是朱德群迷極 欲找尋的標的之一。朱德群曾經回憶那份靈光乍現的悸動：「我曾畫過好幾個白色調子的畫，那是我在日內瓦的途中，看到阿爾 卑斯山覆滿了白雪，當雲霧瀰漫之時，雲霧的白和雪白的白層次分明而充滿了變化，此時我心中只有雲霧在白地上移動的景象以 及湧現的層次，心靈似乎也跟著那深淺濃淡的變動而若浮若沈，一下子浮現了很多唐詩的意象。回來就忍不住想作畫。我要畫的 是『我』對她那一剎那的感受。」本件拍品創作於1985年，是「雪景系列」中重要的代表作， 作於朱德群阿爾卑斯山之旅剛結 束，在情感上，對於藝術家本人也是意義匪淺。
Ravenel 57
024
CHU TEH-CHUN
(Chinese-French, 1920-2014)
Langage d'ailleurs 1990 Oil on canvas 73 x 100 cm Signed lower right CHU TEH-CHUN in Chinese and French, dated 90 ILLUSTRATED: Pierre Cabanne, Chu Teh-chun , Cercle d'Art, Paris, 1993, color illustrated, no. 75, pp. 134-135 World Chinese Arts Gazette , Issue no. 4, Yi Mo Culture and Arts Development Ltd., Shenzheng, Guangdong, July 28, 1995, color illustrated Edition des oeuvres des académiciens de l'Académie des Beaux-Arts de l'institute de France: Chu Teh-chun , Hebei Education Press, Hebei, 2005, color illustrated, no. 86, pp. 154-155 Pierre-Jean Rémy, Chu Teh-Chun , La Différence, Paris, 2006, color illustrated, p. 182
HK$ 3,000,000 - HK$ 5,000,000 NT$ 12,712,000 - NT$ 21,186,000 US$ 387,100 - US$ 645,200
World Chinese Arts Gazette 《世界華人藝術報》
朱德群 異鄉 1990 油彩 畫布 73 x 100 cm 簽名右下：朱德群 CHU TEH-CHUN. 90. 圖錄： 皮耶•卡班，《朱德群》，藝術圈出版社， 巴黎，1993，彩色圖版，編號75，頁134-135 《世界華人藝術報》第4期，一墨文化藝術發 展有限公司，廣東深圳，1995年7月28日， 彩色圖版 《法蘭西學院藝術院院士作品集：朱德群》， 河北教育社，河北石家莊，2005，彩色圖版， 編號86，頁154-155 皮耶－尚．雷米，《朱德群畫集》，拉迪夫羅 斯出版社，巴黎，2006，彩色圖版，頁182
Ravenel 59
LANGAGE D'AILLEURS CHU TEH-CHUN
Chu Teh-chun began his studies of abstract paintings in the 1950s
composition of the work; instead, they seem to "float" over it,
with inspirations from French artist Nicolas de Staël. Early on, Chu
like air. The darker dots and lines, with their manic energy, are
took color concepts to conjure abstract expressions and injected
the "energy source" for the painting's dynamism, guiding the
his own thoughts, which gradually developed into his individual
viewer's gaze around the canvas. The large patches of dark color
style. His early work has been termed as his gemstone stage to
tones that dominate the corners of the painting ensure that, even
describe the pervasive geometric shapes. His later work shifted
when the fantastical variations in blue and green color tone are
the focuse on to light, with vibrant colors and broad strokes,
contained and stabilized by black brushstrokes, this calmness
sprinkling jewel-like clusters that shimmer in the night sky.
does not degenerate into a sense of loneliness or isolation. At the same time, the faint touches of white
This particular work, was created in 1990.
or yellow that can be discerned in the blue
As the result of an ongoing process of
act, through the medium of the viewer's
artistic exploration and discovery, Chu
perception, to suggest the emission of
Teh-chun's artistic trajectory had moved
light, while the extended perspective
away from introspection towards a more
provides enhanced freedom for the play of
extroverted approach, while retaining
color. The patches of indigo constitute the
the effective use of color and line to
"soul" of the painting; they represent the
create "landscapes of the mind" that had
self-observation of poetic metaphor, and
been a constant element in Chu's work
hold together the poetic rhythm of the
throughout his career. By the 1990s, Chu's
work, keeping its precision and restraint. These color elements take the center of
work had become freed from all inhibition; his spatial composition had become more striking and self-assured, and his use of color was smoother and more elegant. This painting employs Chu Teh-chun's favorite color tones, using a wide range
CHU Teh-chun, Lumière captive III, 1992 oil on canvas, 46 x 55 cm Ravenel Spring Auction 2015 Hong Kong US$ 154,839 sold
the painting as their axis, spreading out
朱德群《撲獲之光輝III》1992 油彩 畫布 46 x 55 cm 羅芙奧香港2015春拍 HK$ 1,200,000 成交
a sense of emotion and internalized
– 朱德群
brushstrokes and intense colors safeguard memory that is as fine and precise as a point of light; the individual's will is
of blue tones in combination with blue-
「我作畫時，都是我平生壯遊的感覺。有些畫是我當時不能抑制的 衝動；有些則是過了很久，甚至遺忘了的壯遊記憶，而被畫布喚醒 出來。不管是被外在的美景直接激發，或被內在的某種沉澱記憶中 的東西所觸動，我只要面對畫布，感性就會爆滿膨脹起來。」
from it in interleaving layers. The dense
green. Chu once said that he associated the color blue with
placed within the majestic dynamism of life. This work embodies
the mysterious quality of the ocean and the way it constantly
a progression from taking inspiration from the material world
changes, sometimes calm and serene, sometimes wild and
to taking inspiration from the soul, so that, when the artist puts
violent. Here, Chu's use of blue adds an air of solemnity to what
down their brush and stands in front of the canvas, the sense of
is otherwise a highly dynamic painting.
joy is undiminished.
In this painting, the relationship between composition and color
Chu dedicates his life to art. He is focused and committed to art
is particularly exquisite. The positioning of an oval composition
without distraction. Through his paintings, he shares with the
within a rectangular frame creates a visual contrast between stasis
viewers his life: the small pieces as well as the important chapters.
and movement, which is one of the characteristic features of
Even though they are abstract, the surging emotions, powerful
Chu's art. Rather than just adding large swathes of blue or green
concepts, and his spiritual contemplation of the universe over
to the canvas, Chu has flourished a large brush back and forth,
and again lead the viewers to travel into his works and leave
using a combination of long and short strokes, to portray the
feeling deeply touched. The ancient philosopher Lao Tzu once
zen-like flow of blue and the magnificent stillness of green. The
said, "The most beautiful sound is soundless; the most beautiful
light reflected in the painting seems to come from a far-distant,
image is without an image." Within and through his works, Chu
as yet unexplored source. Having traveled such a long distance,
has expressed exactly this poetic and aesthetic concept to art
the rays of light are unable to fully dissect the spatial and color
lovers around the world.
"WHEN I AM PAINTING, I AM ALWAYS DRAWING ON MY EXPERIENCES WHEN TRAVELING AT DIFFERENT TIMES OVER THE COURSE OF MY LIFE. SOME PAINTINGS ARE THE RESULT OF A SUDDEN, IRRESISTIBLE IMPULSE; SOMETIMES, A LOT OF TIME HAS ELAPSED, AND I MAY EVEN HAVE THOUGHT THAT I HAD FORGOTTEN THE MEMORIES OF THAT JOURNEY, BUT THEN, STANDING IN FRONT OF THE CANVAS, IT ALL COMES FLOODING BACK. REGARDLESS OF WHETHER I AM INSPIRED DIRECTLY BY THE BEAUTY OF THE SCENERY, OR WHETHER THE INSPIRATION COMES FROM SOME DEEPLY-BURIED INTERNAL MEMORY, WHENEVER I STAND BEFORE THE CANVAS, THE EMOTIONS START TO WELL UP." – CHU TEH-CHUN
CHU Teh-chun, Lumière éternelle (diptych), 2003-2004, oil on canvas, 130 x 324 cm, 130 x 162 cm (each) Ravenel Autumn Auction 2012 Hong Kong, US$ 2,394,839 sold 朱德群《永恆之光》（二聯幅）2003-2004 油彩 畫布 130 x 324 cm 130 x 162 cm （每件） 羅芙奧香港2012秋拍 HK$ 18,560,000 成交
朱德群自1950年代開始研究抽象繪畫，受到法國畫家史塔耶爾的
色構築的空間全然劈裂擊碎，而是如空氣般隱動漂浮著。奔馳跳躍的
繪畫啟示，從色塊結構發展出早期的抽象靈感，融入個人思考之
深色點線是畫中流動的能量，主導著觀者視線游移的走向，留白蹲踞
後，逐漸發展成獨特的畫風。人們喜愛以寶石時期來形容朱德群
在畫面角落，讓青綠色層的幻化不羈，在暗色筆觸的動態包圍中靜
早年的色塊組成。後來的繪畫創作則以光線表現為主角，高彩度
定，即使靜定卻從未沉寂。而隱約透出白與黃的青色，藉由觀眾對意
色彩及大面積刷筆的動態，形成如夜空裡閃爍的珠玉。
象的認知，指引出光的行跡，與透視深遠的延伸，並為色彩提供了 遊走的空間。幾處的薄霧是畫中的靈魂，是詩人寄託在隱喻中的自我
此件作品創作於1990年，朱德群的抽象創作軌跡，經過藝術家持
觀照，也是串連起平仄起伏的詩韻，精鍊而不氾濫。這些色彩元素，
續的探索，由內斂而外露，由色彩與線條建構出的意象風景，貫
以畫面的中心為圓心，一層層交錯環繞，透過濃密筆觸與色彩，守護
穿了他的創作歷程。其風格發展至1990年代，已然無所顧忌，空
著光源般細微的情感與內化的記憶，將個人意志寓於宏觀的生命脈動
間造形愈趨磅礡自在、色彩的安排更加淋漓酣暢。此作採用了朱
中。求師於物，進而求師於心，藝術家放下畫筆，停駐於畫布前，已
德群最為鍾愛的色調，以多樣化的青色搭配藍綠色。藝術家亦曾
然遇見豁然開朗。
說過，藍色讓他聯想到海洋的神秘氣質、變化萬千的形態，時而 靜默、時而狂嘯，也為躍動的畫面增添沉潛大氣的風範。
朱德群的一生皆繫於他的藝術，他專注、堅持、單純地一路直行，觀 者從他的畫中，點點滴滴分享了他生活裡的枝微末節與重要篇章，儘
此作對於結構與色彩關係的呈現尤為精彩，作品的矩形尺幅與內
管畫面是抽象，那情緒的起伏悸動、那思潮的湧現、那面對宇宙大地
容盤曲呼應構圖，恰好形成視覺印象裡靜與動的對比，亦是朱德
的省思與心靈感受…一再一再引領觀者神遊其中，感動久久。老子：
群創作所表現的主要特色。朱德群並未大片地將青與赭褐鋪排於
「大音希聲，大象無形」，如此富於詩意的哲思，朱德群在他的作品
畫面上，而是以大筆刷或長或短地揮動翻飛，將其塗抹暈開置於
中，已向全世界的藝術愛好者盡顯這至高的美感境界。
高處，表現出青色的空靈逕走與赭褐的鄉懷相得益彰。畫中光源 彷彿來自未能探知距離的遙遠處所，光線行而至此，並未將形與
Ravenel 61
025
WU GUANZHONG
(Chinese, 1919-2010)
Lion Grove Garden 1980s Ink and color, acrylic on paper 96 x 88.5 cm Signed lower left Wu Guanzhong in Chinese With three seals of the artist Postscript inscribed from previous collector: Wu Guanzhong in Chinese, titled Landscape in Chinese, dated to the 80s , inscribed by Liu Chen-tan in Chinese With one seal of the collector: Liu Chen-tan PROVENANCE: Collection of Liu Chen-tan, Taiwan Dimensions Art Center, Taipei Acquired from the above by the present owner (1990) This painting is to be sold with a certificate of authenticity issued by Dimensions Art Center, Taipei.
HK$ 3,800,000 - HK$ 5,500,000 NT$ 16,102,000 - NT$ 23,305,000 US$ 490,300 - US$ 709,700
吳 冠中 獅子林 1980s 彩墨 壓克力 紙本 96 x 88.5 cm 簽名左下：吳冠中 鈐印左下：冠中寫生 鈐印左下：荼 鈐印右上：八十年代 收藏家題跋：吳冠中 山水 八十年代 辰旦題 藏家鈐印：劉辰旦 來源： 劉辰旦收藏，台灣 帝門藝術中心，台北 現有收藏者得自上述來源（1990年） 附帝門藝術中心開立之原作保證書（題目《鄉間漁樂》）
Ravenel 63
“HIS OWN WORK SHOWS THAT LIBERATION FROM A STIFLING TRADITIONALISM HAD BEEN ACHIEVE, IT WAS POSSIBLE, ENRICHED BY WESTERN EXPERIENCE, TO RETURN TO THE NATURAL MODE OF CHINESE PICTORIAL EXPRESSION – THE CALLIGRAPHIC GESTURE OF THE CRUSH AND SO ACHIEVE AN ART THAT IS BOTH CHINESE AND CONTEMPORARY.” – MICHAEL SULLIVAN
LION GROVE GARDEN WU GUANZHONG THE SPIRIT OF REPRESENTATION AND ABSTRACTION. The "Lion Grove Garden" constitutes an eloquent work infused with modern sensibility through a traditional medium. The present lot encompasses lines of varying tones and length that defines space and form. Since the 1980s, the sinuous lines in Wu’s work frequency become the primary focus rather than secondary to the subject matter. The present lot encompasses a complex juxtaposition and a profusion of meandering lines that come alive, pulsates with energy as it outlines the silhouette of the Lion Grove, the largest rockery in Suzhou. Historically, eminent Classical painters such as Xu Ben and Ni Zan had depicted the thematic subject of the rockery since the fourteenth century, where traditional aesthetics focus on the appreciation of the labyrinth of caverns, chasms, and tunnels. In essence, the application and interplay of black and whites convey the notion of void and space that extenuates any presence of colors to create a magnificent pictorial effect of harmonies fluidity and quintessential spirit. Indeed, the brushstrokes in the "Lion Grove Garden" are probably more akin in spirit to those of the Qing painter, Ba Da, who had reached most profoundly to the realm of abstract beauty according to Wu. Similar to Ba Da, the lines in Wu’s painting no longer just describe the apparent and the physical attributes, these lines simultaneously reveal the state of mind of the artist. The sentiments derived from earlier reins of classical landscape painting, illustrates its influence in the pictorial organization. In essence, Wu regards the rockery as a manifestation of a stream of consciousness, by analyzing the formal characteristics of his subject, he successfully extract the abstract qualities in these forms. He confronted this magnificent scenery of the rockery from nature by deriving abstract qualities that attributes to the essences of the Lion Grove, carefully constructing the composition of the natural scenery to its essential elements. The resulting composition thus lies precisely in the sinuous lines and cacophony of these spattered and splashes of dots in ink and colors of green, yellow, purple and red that reinforce the fluid impression as it dances and sparkles across the composition. Furthermore, the seemingly casual and spontaneous handling of the brush is the structural interplay of these sharp and sinuous sweeping lines are charged with abstract energy as they rise and fall, appearing densely and sparsely at times while extenuating the structure of the Lion Grove. As the lines multiply to delineate the topography of the hard rock surface the concavity of rocks piled up layer upon layer that are concave and the convex, pierced and chiseled intertwine to create space and structure, it stimulates one’s imagination to venture beyond the realms of identifiable representation into creating an abstract rhythm that the rockery left to the viewers’ imagination. This heightens the beauty of the abstract quality of the compositional arrangement, its ties to objective reality with the representational images of the covered-corridor and pavilions nestled within the shade of the pines and cypresses, nostalgically overlooking the soft contours of the pale grey tones of the water where the lively fishes in the foreground resides. The present lot exhibits treasurable KANDINSKY, Composition IV , 1911, Kunstasammlung NordrheinWestfalen, Dusselddorf, Germany 康丁斯基《構圖4號》1911 德國 杜塞道夫 北萊因-西法登美術館
epochal spirits as the poetic depiction of the Lion Grove in rhythmic vitality truly constitute a tribute of Wu’s exalting love for his homeland and its people.
THE KITE WITH THE UNBROKEN STRING In retrospect, Wu was enrolled in the Hangzhou Art Academy and devoted himself to oil painting between 1936 and 1942. He studied under other artists such as Lin Fengmian and Pan Tianshou among some of the most innovative traditional masters of the twentieth century. When Wu was under the guidance of Pan Tianshou, he learn the essentials and fundamental groundwork by imitating the works of the the Orthodox tradition and masters Daoji, Kuncan, Hongren, Ba Da, Zheng Xie of the Qing dynasty. In 1947, Wu headed to Paris and studied at the Ecole Nationale Superieure des Beaux Arts for the next three years. During his stay in Paris, he emerged himself in Western art. He admired the works of Modigliani, Van Gogh, Utrillo and was greatly inspired by the Impressionists and the liberation of personality of the Fauves tradition and thus adopted to the creative freedom of the Modernist movements. Wu felt that the modern European movements may enrich the traditions and literary associations of the classical Chinese tradition, this sentiment perhaps have partially driven his subsequent return to his homeland in 1950. Wu embraced his homeland with the innermost abundant feelings and decided to actively embarked on a journey that allow his creative vitality to triumph over any political dogma or the vicissitudes of life and strive to incorporate formalist principles from the Western modernist movements into the aesthetics of Traditional Chinese art. In this regard, Wu remained a strenuous advocate of his dictum of a kite with an unbroken string, which predicates upon "a work of art that is rooted in the culture that nurtures it. It is a parable Wu often uses to describe what he strives for in his abstract painting and figurative work. To him, a painting that is regarded as abstract may still be appreciated by others if it is related to life and experiences of that artist. In other words, if it is linked to the source with an unbroken string. the string, though invisible, validates a work of art and permeates it with sincerity. By deciding to return to China after three years sojourn in France, Wu rejoined the culture that has been his roots. He too, was like a kite that had found its original string." The result is epitomizes by the present lot as Wu reveal his love for nature and the native soil by creating a rich display of lines, dots and washes in ink and color hitherto unseen in traditional painting. Wu has been recognized as an artist of unique sensibility and vision through processes of refining, summarizing, modifying, imagining and recreating, thereby transplanting the beauty of Western painting onto the aesthetic consciousness of the Chinese tradition. Indeed, Wu had produced some of the most satisfying and enduring of modern Chinese art and the present lot is a testament that it is a combination of individual idiosyncrasies and artistic idiosyncrasies that foster the creation of a masterpiece.
Ravenel 65
「他的作品掙脫滯悶傳統主義的束縛，吸取西方養分後，重新回歸到最初的中國繪 畫表現手法－筆墨韻致，創作出兼具中國與當代特質的藝術。」 – 麥克．蘇立文
五彩繽紛：點與線之共舞
探索抽象
風箏不斷線的完美演繹
《獅子林》一畫巧妙融合了流利的傳統繪畫語言與現代感性思維。
溯其生平，吳曾就讀杭州藝專，1936 至 1942 年間主攻油畫創
本拍品運用不同色彩與長度的線條，勾勒空間及形式。自 1980 年
作。師事林風眠和潘天壽等藝術家，他們乃是二十世紀最具創新力
代開始，吳冠中作品中頻繁出現的靈活線條，已成為主要的創作主
的傳統派巨擘之二。吳在潘天壽門下接受指導時，臨摹正統清代畫
題。《獅子林》以繁複的並列結構和大量曲折多變的線條，層層疊
家如石濤、石溪、弘仁、朱耷、鄭燮等人的畫作，奠定國畫基礎。
構成這蘇州最龐大的假山群，獅子林，畫面躍動，散發蓬勃生氣。
1947 年，前往巴黎法國美術學院留學三年。在巴黎期間，吳沉浸
根據歷史，自十四世紀起已有卓越的正統畫家──如徐賁與倪雲
於西方藝術，他欣賞莫迪里安尼、梵谷、尤特里羅的作品，並深受
林以假山為主題作畫，當時舊有的審美標準側重於鑑賞由洞穴、
印象畫派和野獸派個性解放思想啟發，進而開始追求現代主義運
石縫與隧道所形成的迷
動鼓吹的創意自由。吳認
宮。而吳以黑白交錯的
為，現代歐洲藝術運動可
色調傳達空靈留白之意
能有助於開拓中國古典傳
境，消弭其餘色彩的出
統和文人畫的境界。興許
場餘地，從而營造和諧
正因如此，他在 1950 年
流暢、精微靈動的旖旎
決定重回故土。吳以最深
氛圍。本質上，《獅子
層的情感擁抱祖國，並決
林》的筆法或較近於
心積極長期奮鬥，盡情揮
清朝畫家八大山人之筆
灑自身的創作力，嘗試凌
法，據吳所言，八大山
駕一切的政治信條或生命
人已登堂入室，來到抽
歷遷，並努力將西方現代
象美感的最高境界。而
主義運動的形式主義，融
同於此位前人，吳的線 條不僅描摹外在實體， 藝術家的心境也自然隨 之流露。
WU Guanzhong, Lion Woods , 1988, ink and color on paper 144 x 297 cm, Poly Beijing Spring 2011 US$ 17,250,000 sold 吳冠中《獅子林》1988年作 彩墨 紙本 144 x 297 cm 北京保利2011春拍 RMB 115,000,000 成交
入傳統中國藝術美學之 中。 在這條路上，吳一直提倡 風箏不斷線的格言，認為
源自傳統山水畫的情韻在吳的畫面結構中一覽無遺。他藉獅子林之
「藝術作品應該扎根於孕育它的土壤之中。吳時常以此比喻其抽象
景，寫意識之流，成功化無形為有形。透過吳的精心構圖，在一片
與人物畫想要呈現的境界。於他，即使是抽象畫，只要與藝術家的
崢嶸聳峻的奇岩壯石景緻之中，獅子林的靈動神韻躍然紙上。他精
生活和經驗有關，便不畏知音難覓。換言之，只要抽象畫與其根源
準運用曲線和飛濺的墨、綠、黃、紫及紅點，這些元素在跳躍閃動
之間的那條線不斷，這條隱形的線便能證明藝術創作的根本，同時
之際，形成更流暢的構圖。再者，筆觸處理貌似即興，蜿蜒利落的
以真誠貫之。留法三年後決定回國的吳，便是渴望尋根。他也像風
交錯線條，在起伏跌宕之間，展現豐沛的抽象活力，又疏密有致地
箏一般，找到了最初的那條線」。尋根的結果，就展現在本拍品
帶出獅子林的結構。深淺交錯的線條勾勒出石頭的表面型態、層疊
中。吳豐富運用了在傳統繪畫中史無前例的線條、星點與渲染筆
的凹凸起伏、穿孔與刻鑿交織而成的空間與結構，引領觀者的想像
法，並以墨色與彩色呈現，刻畫出他對自然與鄉土的熱情。吳一向
力逸出寫實再現的範疇，化為抽象之歌，任觀者譜奏。構圖所鋪陳
被視為具有獨特感知性和視野的藝術家，他精鍊、概述、修正、想
出的抽象美感隨之昇華，並呼應著由具象風格的圖像所形成的真實
像並再造西方繪畫美學，進一步將之移植於中國傳統美感意識之
景緻，例如坐落於松柏掩蔭處的有頂廊道與涼亭，同時懷舊般地俯
中。吳確已創作出最出色雋永的現代中國藝術，而本拍品驗證了個
瞰著擁有柔和輪廓的淡灰調水塘，前景中的游魚也在水中生氣勃勃
人技法與藝術風格得以交融，共同孕生出曠世巨作。
地棲息著。本拍品呈現了難能可貴的劃時代精神，詩意般的描繪潛 藏於獅子林的韻律生機之內，著實見證了吳對故鄉與人民的熱愛。
Ravenel 67
026
ZAO WOU-KI
(Chinese-French, 1921-2013)
7.12.69 1969 Oil on canvas 73 x 92 cm Signed lower right Wou-ki in Chinese, and ZAO in French ILLUSTRATED: Gérard de Cortanze, Yves Bonnefy, Zao Wou-ki , La Difference / Enrico Navarra, Paris, 1998, color illustrated, p. 146
HK$ 8 , 500, 000 - HK$ 13,000,000 NT$ 36,017,000 - NT$ 55,085,000 US$ 1,096,800 - US$ 1,677,400
趙 無極 7.12.69 1969 油彩 畫布 73 x 92 cm 簽名右下：無極 ZAO 圖錄： 傑哈．德．康坦茲與伊夫．波納菲合著，《趙無極》， 拉迪佛羅斯 / 安利哥．納瓦哈，巴黎，1998，彩色圖版，頁146
ZAO Wou-ki, 17.4.64 , 1964, oil on canvas, 114 x 162 cm Ravenel Autumn Auction 2009 Taipei, US$ 4,925,373 sold 趙無極《17.4.64》1964 油彩 畫布 114 x 162 cm 羅芙奧台北2009秋拍 NT$ 158,400,000 成交
Ravenel 69
ZAO WOU-KI'S "NATURAL WEATHER" Zao Wou-ki's accomplishments within and outside the
Picasso's paintings, he does not get inspired or enlightened.
realms of painting are indisputable. He was honoured
But looking at Cézanne, in particular "Mont Sainte Victoire"
with the highest accolade given to an artist by the French
Z a o c l a i m s : " T h e u n d i ff e re n t i a t e d h u e s b e t w e e n t h e
government, by being elected to the Académie des arts et
mountains and the sky are strikingly similar to that in classical
lettres in Paris. Whenever someone discusses Chinese or
Chinese ink paintings." He also believed that travelling is one
Western art history, it is hard not to come across Zao's name.
of the best ways to recharge: While ancient Chinese literati
As a forerunner in Abstraction Lyrique, his achievements in
seek to fathom philosophies from the mountains and valleys,
the art arena has garnered quite a following in later Chinese
modern artists naturally too, can turn to museums, diverse
artists. Just as how art critic Philippe Dagen, from the French
cultures, and various places of interest, for inspiration. Once,
publication Le Monde, described Zao and his paintings - as a
Zao discovered Paul Klee's paintings in an exhibition in Bern,
vagabond - the journey of this Chinese artist in the Western
Switzerland. Paul's works, very much influenced by Chinese
art scene has been an adventure.
art, struck a chord in Zao's heart. It brought Zao to a whole new level in Western art - a level of poetic significance.
In the spring of 1948, with a heartful of admiration for Paul
For instance, he used symbols and wavering lines to depict
Cézanne and Post-Impressionism, Zao left Shanghai on an
feelings of joy. He also got his inspiration from ancient
ocean liner. He traced along the path of Western art form
Chinese hieroglyphics and characters, as he immersed
towards its origin, in a bid to learn and understand European
himself in the lower rungs of self-fashioning. Subsequently,
art. During the time when he was in Paris, marvelling at the
he abandoned the symbols and images altogether, leaving
works of the great masters in the Louvre, Zao stayed at the
only an expansive space, not unlike that of magnificent
Montparnasse - a favourite haunt of many literary and arts
mountains and the endless universe.
personnel. There, he became sculptor Giacometti's neighbor. Zao tried to establish himself in Paris - concurrently learning
His copious creative energy brought Zao to yet another
French and painting at La Grande Chaumière. In this artistic
peak in the 1960s. By then, his paintings were already very
Mecca where artists from all over the world convened, Zao
well received in Europe and America. In an interview, Zao
had the pleasure of being acquainted with some famous
mentioned: "Everybody is tied up by one tradition, I am by
names, including Hans Hartung, Nicolas de Staël, Pierre
two." Clearly, both traditional Chinese cultures and Western
Soulages, Vieira da Silva, and Jean-Paule Riopelle. With the
art have a concomitant effect on him. More than once, he
help of writer Henri Michaux, Zao managed to progress into
talked about the influence Paris had on him - Paris made
the heart of the Parisian art circle.
him a true artist. As his thoughts matured, Zao gradually rediscovered China. This was progressively being reflected
Zao once said: "Picasso taught us how to draw a Picasso,
in his paintings. Ironically, credit goes to Paris - because if
Cézanne taught me how to appreciate the essence of our
not for his study trip to Europe, and if not for his exposure to
Chinese paintings." In other words, when Zao looks at
the artistic hustles of Paris, Zao's art would not have been in the form that we see today. Without a doubt, his paintings amalgamate the essence of both Chinese and Western art. As Japanese art historian Shuji Takashina puts it, Zao Wou-ki has allied "the French way of feeling to the far eastern awareness
of space". "7.12.69" was completed in 1969 - the pinnacle of Zao's creative career. By that time, his works were already widely acclaimed by contemporaries in the art scene. That summer, he held his second retrospective exhibition in Canada, first in Montreal's Musée d'Art contemporain, followed by Musée du Québec in Québec. To attend the opening, Zao took his second wife, May, on a trip across the American continent. ZAO Wou-ki, Plantes tortillées , 1954, oil on canvas, 115 x 147 cm Ravenel Spring Auction 2014 Taipei, US$ 8,114,705 sold 趙無極《爭榮競秀》1954 油彩 畫布 115 x 147 cm 羅芙奧台北2014春拍 NT$ 243,360,000 成交
This was perhaps the most memorable period in his life. In Canada, he visited his friend, painter Riopelle. Then, as Zao travelled down south to Mexico, Latin American artist Tamayo
played host to him. 1969 was also the year when Belgian American art historian cum critic Pierre Schneider produced a documentary feature about Zao for the French national broadcaster ORTF. For the period spanning 1960 to 1970, Zao channeled all his energy towards painting. As written in his autobiography, he took on these 10 years like a speeding Porsche. He was racing against time to present his newfound thoughts. Driven by love, he worked fervently. Looking back, he felt a sense of gratification and achievement, having advanced his works into the matured stage. In Zao's first catalogue raisonnĂŠ written in French, author Jean Leymarie described the constant development of his art in the 1960s with respect to the use of contrast and harmony to portray rhythm, texture and colour modulation: sometimes Zao favours monochrome, and at times rich dark dyes of brown with streaks of black; other times the tone is opalescent and light, like silver grey brume. While other modulations include snow and sapphire, mousse and rubious sumptuous accords. In his book Masters of Chinese Painting: Zao Wou-ki, renowned Taiwanese art historian Hsiao Chiung-jui analyses the characteristics of Zao's style in the 1960s: "Brown and
yellow tones dominate in Zao's work from the 60s, colors emanating a bronze-golden glow that are applied across the canvas with vigorous abandon to form lines and shapes of both refined subtlety and keen intensity - filamentary and just a touch frantic in quality. These lines are assembled in a free fashion without any concern for motif or preconceived notions. Zao shakes off all formal restraints and follows his inner vision, thereby revealing a profound and rich imagination that fills his compositions with primal energy and creates a world where the most dazzling beauty bursts from a wasteland." Undoubtedly, these words also capture many of the qualities of "7.12.69". His paintings exude a poetic calm akin to the vast universe. In the painting "7.12.69," detailed traces and generous splashes of oil contrast with each other in the profound space, and unhurriedly find their way in the midst of the bronze-golden glow, denoting another of Zaoâ&#x20AC;&#x2122;s classics. As poet Wai-lim Yip so aptly describes: "Looking at Zao's
painting is like standing alone at the edge of a stage, listening intensely to the orchestral performance by the luster and light." This illustrates the perfect setting for Du Fu's poem "I bare my breast towards opening clouds" as his barrel chest parts the incoming clouds.
Ravenel 71
盪胸生層雲 – 趙無極筆中「自然的氣象」
趙無極的繪畫在中、外的成就已是有目共睹，身為法蘭西學院美術學院院士，法國政府賦予藝術家最高榮 譽的肯定。如欲探討中國或西方的繪畫史，我們都無法跳過他的名字。他在國際藝壇的成功，帶領中國 後起藝術家對抽象畫的追尋，足以被譽為抒情抽象的先行者。法國《世界報》的藝評家菲利普．塔尚曾以 「漂浪者」形容其人其畫，點明了這位中國畫家在西方畫壇的奮鬥歷程。 那是1948年的春天，趙無極搭輪船自上海離開，航向歐洲的藝術學習之路，懷著對塞尚、後印象派的孺 慕，一路循著西方現代藝術的軌跡，找尋西洋繪畫的源頭。他在巴黎羅浮宮瞻仰大師的巨作，住進藝文人 士聚集的蒙巴納斯區，成為雕塑家傑克梅第的鄰居。趙無極一邊學習法語，一邊在大茅屋工作室作畫，他 希望在巴黎確定自我的位置。巴黎真的是現代藝術的聖地，來自四方的藝術家群聚於此，趙無極結識當時 幾位已經成名的藝術家：哈同、史塔耶、蘇拉吉、達．西爾瓦、李歐佩樂，更在作家米修的幫助下躋身於 巴黎藝文圈的核心。 趙無極說：「畢卡索教會我們如何去畫畢卡索，但塞尚教會我如何去注視我們中國畫的本質。」他的意思 是說，看畢卡索的畫，得到空間的啟示不多，但看塞尚，尤其是《聖維克多山》，「山與天空色塊連接不 可分的情況，完全是中國畫的辦法」。趙無極認為旅行是充電的好方法，自古中國文人從名山大川參透哲 理，現代畫家自然也能藉由走覽博物館、探訪各地人文風景名勝，尋獲激盪靈感的好素材。他在瑞士伯恩 ZAO Wou-ki, 19.7.63 , 1963, oil on canvas 114 x 75 cm, Ravenel Autumn Auction 2013 Taipei, US$ 3,871,578 sold 趙無極《19.7.63》1963 油彩 畫布 114 x 75 cm 羅芙奧台北2013秋拍 NT$ 114,560,000 成交
的一個展覽中發現貼近自己心靈的克利的繪畫，透過深受中國藝術啟發的克利，他找到西方繪畫的另一種 層次，進入「詩」的境界。他以符號、線條顫動，呈現愉悅的感受。中國甲骨文、古文中充滿繪畫性的啟 發，趙無極在創作中盡情地挖掘自我文化底層的蘊藏。後來，他索性將符號、形象完全放掉，曲曲折折之 後尋見一片寬廣的空間，如同大山大水的雄渾氣勢、如同浩瀚宇宙的幽遠縹緲。
1960年代趙無極的抽象繪畫走紅於歐美兩地，豐沛的創造力使他登上另
不斷地工作、工作。後來回顧這十年的工作，他方才覺得有了具體的成
一座高峰。趙無極在一次訪問中提到：「人們都服從於一種傳統，我卻
果，進入繪畫的成熟期。趙無極第一本法文編年目錄的作者雷馬利，指
服從於兩種傳統。」說明中國文化傳統與西方藝術對他的雙重關係。他
出1960年代趙無極的藝術不斷地開展，以對比或和諧化表現出韻律、肌
不只一次地談到巴黎對他的影響，巴黎使他成為一位真正的藝術家，隨
理和色調的細微變化；時而偏好單色，時而深暗而盈滿，暈染的棕色上
著思想的成熟，他慢慢地重新發現中國，進而在繪畫中反映中國。然而
有黑色刮痕；時而乳白而輕盈，如銀灰色的雲霧。其他有的是雪與藍寶
這回溯本源卻須歸功於巴黎。如果未曾留學歐洲，如果不是到人文薈萃
石、慕思和紅寶石的華麗和諧。
的巴黎，那麼他的藝術不會呈現如今的面貌。無疑地，他的繪畫揉合了 中國與西方的藝術精髓，「將法國的情致與遠東的空間感知相互結合」
台灣知名的美術史學者蕭瓊瑞在《中國巨匠美術週刊 – 趙無極》一書也
（日本美術史學家高階秀爾語）。
指出趙無極此階段的特色：「1960年代的作品，是以黃褐色為主調， 散發著一種金銅般的光芒，一些細膩、尖銳、又帶點神經質的纖維性線
《7.12.69》一作完成於1969年，此時他的創作臻至成熟的階段，早已
條，在畫面上自由的揮灑、組合，擺脫題材、法則的限制，一切遵從內
受到藝壇的肯定，這一年夏天他在加拿大蒙特婁當代藝術博物館和魁北
在的需求。趙無極呈顯一個深邃、富有動力、荒原中透露著華麗的世
克博物館巡迴展出生平的第二次回顧展。為了出席博物館開幕，他偕同
界。」這段文字也凸顯出《7.12.69》的某些特色。
當時的妻子美琴一路旅行美洲。在加拿大期間，拜訪畫家友人李歐佩 樂，順道又到了墨西哥，成為拉丁美洲畫家塔馬友的客人，這段記憶是
趙無極的畫意進入詩的領域，進入自然宇宙的探尋。《7.12.69》這幅
他生命中很美好的一段。同年，比利時裔美國籍的美術史學家兼評論家
畫中飛揚從容的筆觸，於深邃富有動力的空間與華麗豐美的金銅色系畫
許奈德，為法國國家廣播電台製播一部關於趙無極的紀錄影片。
面，大塊淋漓的揮灑與細膩的韻致交織，留下令人迴盪的趙氏經典。詩 人葉維廉認為看趙無極的畫，「彷彿獨立在舞台的邊緣，聆聽色澤與線
從1960至1970年的十年間趙無極全心作畫，在他的自傳裡，這十年對他
條在那裡演奏演出」；「像杜甫讓雲滌盪在雄奇雄渾的胸懷裡」。這恰
而言就像是開保時捷跑車的速度一樣，飛快地逝去，他覺得時間在催促
恰是符合杜甫的詩「胸盪生層雲」的意境呢！
著，要他趕緊把尋得的想法表現出來。愛情激勵著他，唯一的念頭就是
Ravenel 73
027
ZAO WOU-KI
(Chinese-French, 1921-2013)
Juin 2005 2005 Oil on canvas 92 x 73 cm Signed lower right Wou-ki in Chinese, ZAO in French and dated 2005 Signed on the reverse Wou-ki in Chinese, ZAO in French, inscribed pour Laurent Jacob and dated Juin 2005 PROVENANCE: Sotheby's London, February 16, 2012, lot 00229.
HK$ 3,800,000 - HK$ 5,500,000 NT$ 16,102,000 - NT$ 23,305,000 US$ 490,300 - US$ 709,700
趙 無極 情意如煙 2005 油彩 畫布 92 x 73 cm 簽名右下：無極 ZAO 2005 簽名畫背：pour Laurent Jacob 無極 ZAO Juin 2005 來源： 倫敦 蘇富比2012年2月16日，編號00229
「一個不可逆轉的新階段的開始：我要畫看不見的東西：生命之氣、風、動力、形體的生命、色彩 的開展與融合。」 – 趙無極
Ravenel 75
" AN IRREVERSIBLE NEW STAGE HAS NOW BEGUN, I WANTED TO PAINT WHAT I COULD NOT SEE, THE BREATH OF LIFE, THE WIND, THE MOVEMENT OF ENERGY, THE LIFE FORCE OF FORM, THE UNFOLDING AND MERGING OF COLOR AND THEIR FUSION." – ZAO WOU-KI
THE ETHEREAL BEAUTY OF LYRICAL ABSTRACTION "Juin 2005" constitutes a testament to Zao's ability in transpiring
allowing endless permutations and possibilities to be constructed.
his inner sense of nature into a dreamy imagery of meditative
The present lot is a painting of ethereal beauty and romanticism that
abstraction through a tranquil juxtaposition of fullness and
echo the vibrancy of life, perhaps resonating precisely with Zao's
emptiness, movement and rest. The grandeur of the present lot is
more settled lifestyle after years of cultural assimilation in France.
heightened by sweeping strokes of blackish grey at the heart of an effervescent middle, disseminating into further frenzied short,
In retrospect, Zao demonstrated a tendency to differ from his
vibrating multi-directional lines in monochromatic tones of black
contemporaries early on when he exhibited works by Lin Fengmian,
and grey underneath a sumptuous airy blue emerging from the
Wa Tayu, as well as some of his own among other living artists
upper right as it envelopes and blends in seamlessly with the pearly
whom he thought had ventured beyond the traditional realms
white field on the left. Zao introduces areas of light and space with
at the National Museum of Natural History upon his graduated
a colored field of sumptuous blue, creating a powerful pictorial
from the renowned National Academy of Art in Hangzhou. This
mass of color with a fluidity that is as much of the sky. By extension,
dedication to revamp a new contemporary Chinese art lead to his
the light in turn serves the essential role of illuminating an internal
departure to Paris in 1948, where he settled into a little studio in
luminosity that treats light as an expression of an interior energy,
the Rue de Moulin-Vert. Zao visited Switzerland for the first time
defining and extenuating the subtle significance of each beautifully
and discovered the paintings of Paul Klee at the museums in Bern
executed line that attribute to a larger image that is hardly visible
and Geneva in 1951, where he strongly identifies with the work of
yet momentarily perceptible at times. The composition is further
Klee as it resonated with his own aesthetic principles and sensitivity.
imbued with flowing delicate taupe strokes on the foreground that
This encounter marked his progressive initial return to his origins
hint at an imagery as these lines cascades down in the vertical
as evidenced in some of Zao's work in the 50s. The evolution of
composition like the whispering wind or a whirling breath of air over
Zao's ample oeuvre continue to take its shape continuous, his full
a pictorial scene of nature in the distant, one of mountainous scape
commitment to abstraction followed after his extended stay in
under the nourishment of the crisp morning sky that evokes the
the United States where he encountered abstract expressionism
iridescence tone of the mother of pearl, gradually expanding into
first handed at the height of its prestige. Crucially, Zao devoted
the infiniteness of the universe, impalpable but nonetheless solid. In
and committed himself under the inspiration of this new stylistic
essence, the present lot constitute a poetic transcriptions of Zao's
direction and continued to seek reverence in painting his inner
inner reality, whether it be real or dreamed, it is infused with rhythm,
realities through means of abstraction and the non-figurative.
harmony and melody. Zao's rhythmic and lyrical brush strokes reflect a strong sense of musicality stemming from his appreciation for
He subsequently picked up the ink brush after the devastating
the Mozart's arias, where each brushstroke corresponds to the next
lost of his beloved second wife, May, one can imagine how such
much like a note or a sound would in a harmonious musical tonality,
therapeutic practice would allow all the cultural legacy mounted unconsciously to be expressed from the inmost depths of his soul. Zao Wou-ki pursued audaciously and explored new compositions, rhythms, and ways of expressing himself through synthesizing qualities from both the Eastern and Western traditions. Areas of void in the present lot remains soft, light and diluted, free from confining edges that weaves into the sparkling limpidity of the colors and the lyrical flow of the rolling mists in the foreground. This primordial void can be attributed to a fundamental influence of Zao's Chinese heritage, the void of ancient Chinese philosophical and artistic conceptions reminiscent of the expressive charm of the free brush Xieyi style of the Song Dynasty artists, which predicates upon the balancing of voids and solids indicative of an infinite space which allows the imagination of the spectator to manifest. In particular, the importance of the concept of void had been instilled
Cy TWOMBLY, Untitled , oil stick, wax crayon and graphite on canvas, 1964, Collection of Whitney Museum of American Art, New York, USA 塞．湯伯利《無題》1964年作 美國 紐約 惠恃尼美術館藏
in Zao since a very young age, when his father tried to show him the beauty in Chinese works of art that were within their reach at the time. In the words of Tao Teking in his reference to the fundamental
notion of Chinese philosophy regarding emptiness, he stipulated that "Clay is modeled to make vessels, but their use depends upon the empty space inside." Zao Wou-ki has acted as a bridge between two cultures, as a link that authenticates both the survival of a tradition that is fresh, powerful and unforced. In essence, Zao artistic oeuvre is characterized by a constant process of exploration, absorption, and integration. The composition of "Juin 2005" hovers between nature and abstraction, once in awhile slipping over the edge into the reminiscence of a Chinese landscape schema, yet simultaneously in his compositional structure, spatial arrangement or color treatment integrated key elements of Western painting atheistic hidden behind the profound empty spaces and rich profusion of brushed forms. "Juin 2005" remains an exemplary reconciliation of Chinese and European aesthetics, as it testifies to a deeply private emotional typography of Zao that is reflective of a
Joseph Mallord William TURNER, The Fighting Temeraire , 1839 Collection of The National Gallery, London, UK 威廉．透納《勇莽號戰艦》1839年作 英國 倫敦 國家畫廊藏
duel cultural heritage.
觀點與永恆：抒情抽象的縹緲之美 藝術審美與生命境界
東方美學精髓磅礡迸現
《情意如煙》一作中，趙無極將內心對自然的感知，化為如夢似幻的玄
趙無極在創作早期即展現與眾不同的眼光與作風，他畢業自杭州著名
想之象，巧妙地並置虛實動靜，超凡資賦在畫中展露無遺。本拍品中央
的國立藝專後，於重慶國立自然歷史博物館策展，著眼於大膽跨出傳
的墨灰豪筆呈出喧騰氣魄，向外肆意展擴之際，化為急狂而短促猶勁的
統領域的藝作，展出林風眠、吳大羽等當代藝術家的作品，以及他
線條，黑灰色調純淨有致，與之相承接的是上方華美輕盈之藍，縈繞於
本人的部分畫作。他一心想顛覆當代中國藝術，因而於 1948 年遠赴
右上一角並朝外灑落，與左側珠白色塊完美交融，藉此彰顯出整作的雄
法國，寄居於穆林瓦特路（Rue de Moulin-Vert）上的一間小套房。
渾壯麗態勢。趙無極在光亮與廣闊之處增添華美藍彩，創造出鮮活有力
趙無極 1951 年首至瑞士，於伯恩及日內瓦博物館邂逅克利（P a u l
的色塊，靈動之至，呈現天空的流暢美感。與此同時，明亮色彩點出韜
K l e e）的畫作，內心立即產生戚戚之感，其美學原則及敏感度皆與
光，以光線傳達蘊含其內的力量，烘托每道優美線條的精妙之處，綜而
克利產生共鳴。於此，趙無極啟程尋根，旅程便體現於 50 年代的一
觀之，構成若隱若現的整體意象。精巧的褐灰色筆觸遊走前景，形成道
些作品。趙無極的豐富作品不乏風格演變，約莫每經十年可見明顯變
道波濂垂瀉而下，依稀顯出的景緻恰如呢喃微風，又如翻騰氣流，拂過
化。他於美國長居時，目睹巔峰時期的抽象表現主義，因而投入抽象
自然遙景。山巒上頭的清新晨空映照出珍珠母似的虹霓幻彩，逐漸擴至
的藝術創作。尤其，他力求發展新風格，不斷投注心力，透過抽象與
無垠無邊的宇宙，玄奧而實存。本拍品以詩化方式體現趙無極的內心，
非具象表現方式，繪出內在感知的真實樣態。
或實或幻，盈滿和諧節律與樂曲。趙的筆觸充滿抒情律動，反映出豐富 的音樂性。這源於他對莫札特詠嘆調的喜愛，每道筆觸相互承應，猶如
歷經第二任妻子陳美琴逝世的傷慟，他在一段時間後重拾畫筆。不難
音樂中每個音符及聲音譜出和諧調性，每每置換交替，變化萬千而無窮
想像他在透過創作撫平傷痛的同時，文化底蘊盡數由靈魂深處流瀉而
盡之時。本畫呈現縹緲之美與浪漫氛圍，呼應生命之活力色彩，而趙旅
出。趙無極調和東西方傳統特質，大膽探索新的構圖、意境以及自我
居法國多年，漸而融入當地文化，其後平穩安適的生活型態也於本作中
表達方式。畫中空靈之處柔美明淡，不受邊界所拘束，交織成前景澄
隱而顯現。
明的用色表現，以及富有詩意的氤氳霧景。原始太虛是影響趙無極的 根本中國精神，中國哲學與藝術中的虛無概念，體現於宋朝水墨寫意 的灑脫風格，在虛實調和間，開展出其中蘊蓄的無邊之境，任由觀者 想像力盡情奔馳。他的父親以身邊的作品為題材，向他述說中國藝術 作品之美，虛空的概念從幼時便深植趙無極心中。他談論中國哲學空 無的基本概念時，明白引述《道德經》的語句：「埏埴以為器，當其 無，有器之用（以陶塑造器皿，必須仰賴其內部空間才得有盛裝之用 處）。」 趙無極身為兩文化間的橋梁，兼呈雙傳統存續至今的精髓， 自然洋灑而豪邁。趙無極畢生的藝術作品實則展現不斷探索、汲取與 轉化綜呈的進程。《情意如煙》遊走於自然與抽象意念間，時而不經 意地帶入中國山水之意。然他的構圖設計、空間配置及色彩運用卻也 呈現西方畫作美學，藏於廣闊的虛空之處與豐沛的筆法間。《情意如
Yujian, Mountain Village in Clearing Mist , Song Dynasty, Collection of Idemitsu Musuem of Arts, Tokyo, Japan (Detail) 玉澗《山市睛巒圖》宋代 日本 東京 出光美術館藏（局部）
煙》結合中式、歐式美學，展露趙無極承繼自雙重文化的深刻情意表 達之藝。
Ravenel 77
028
JU MING
(Taiwanese, b. 1938)
Single Whip 1991 Wooden sculpture 45 (L) x 25 (W) x 48 (H) cm
朱銘 單鞭下勢 1991 木雕 45（長）x 25（寬）x 48（高）cm
Engraved under left arm Ju Ming in Chinese and date '91 This sculpture is to be sold with a certificate of authenticity issued by Kalos Gallery, Taipei. This sculpture is accompanied with a photograph of the artist taken together with the work.
簽名雕刻左臂下方：朱銘'91 附真善美畫廊開立之原作保證書 附藝術家與作品合照一張
HK$ 2,200,000 - HK$ 3,200,000 NT$ 9,322,000 - NT$ 13,559,000 US$ 283,900 - US$ 412,900
Taichi examines the fusion of strength and tenderness, the balance
curves: the pieces of the Taichi series portray not only the adept's
of ying and yang, light and heavy at the same time, rush actions
movements and breathing, but reveal his very mind. Ju Ming paid
and slow responses, achieving har mony between movement
little attention to its details depiction of facial features, because his
and stillness. This fully manifests esthetics thought, bringing us
concern is the performer's "inner expression", the face of his spirit
a beautiful vision to enjoy. Moreover, this represents Ju Ming's
is seen through the movements. "The chi should flow freely and the
concept toward esthetics. In all the works of "Taichi" series by Ju
mind be calm." nothing could describe the art of Ju Ming better
Ming, "Single Whip" is the most well-known form around the world.
than this old Taichi adage.
Ju Ming's "Single Whip" epitomizes the fascinating tension between
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
inner tranquility and outward action characteristic of most Taichi
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
moves. In this piece, Ju transcends the limitations of traditional
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
sculpture, focusing not on the physical substance but its gentle
勢」。
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
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，
hint of how Taichi allows the life force to circulate freely through the
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
adept's body, just as Taichi grandmaster Wang Zongyue put it, "The
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
energy originates in the spine, and flows as the feet follow where
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
the trunk leads. Contraction and relaxation are one, overlapping
換」，於單鞭下勢中可獲得最好的詮釋。
and merged in constant repetition, continually alternating as one advances and retreats."
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
Taking a closer look at the "Single Whip" movement, one discovers
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
that it begins with the feet, continues with the legs, is controlled by
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
the waist and finds its final expression in the hands. The entire body
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
is involved in the fluid motion. Vital energy, or chi, travels from the
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
bottom to the top, from the feet through the legs to the waist, while
風格論更貼切。
the adept moves in accordance with the prescribed postures. While the look on the face is blank, the sculpture is yet brimming with expression, conveyed through the chi made visible in its lines and
Ravenel 79
029
CHU TEH-CHUN
(Chinese-French, 1920-2014)
Composition No. 206 1964 Gouache on paper 35.9 x 51.4 cm Signed lower left CHU TEH-CHUN in Chinese and French, dated 64 PROVENANCE: Galerie Latzer, Kreuzlingen, Switzerland Swiss private collection since 1968
HK$ 480,000 - HK$ 750,000 NT$ 2,034,000 - NT$ 3,178,000 US$ 61,900 - US$ 96,800
朱 德群 構圖第206號 1964 水粉 紙本 35.9 x 51.4 cm 簽名左下：朱德群 CHU TEH-CHUN. 64 來源： 拉采畫廊，克斯林根，瑞士 自1968年瑞士私人藏家收藏
「如范寬說過與其師於人者，未若師之物；與其師之 物，未若師於心，所謂師於心者，即是以畫家為主宰， 並已有抽象的概念。可是中國人沒有把抽象這兩個字講 出來而已。大自然經過畫家的思想融合和提煉，其中即 是畫家的幻想力､修養和個性之內涵流露於畫面上，中 國繪畫和抽象畫的想法不謀而合。」 – 朱德群
Ravenel 81
THE SPLENDID SYNTHESIS OF THE ORIENTAL AND THE OCCIDENTAL
Lot 029 局部 detail
Willem de KOONING, Untitled , 1948 威廉．德庫寧《無題》1948
"Composition No. 206" testifies to the
formless, the temporal and the eternal,
in a second exhibition at the Legendre
t e m p e s t u o u s w o r l d o f C h u ’s a b s t r a c t
t h e r e b y i n d u c i n g o n e ’s i m a g i n a t i o n
Gallery in 1962. Chu admired the Chinese
art through the portrayal of a sinuous
to wonder in this incandescent
landscapes paintings of the Ming and
amalgam of broad and fine brushstrokes,
metamorphosis of Chu’s infinite universe
Qing dynasties and saw an abstract
endowed with a poetic and metaphysical
that changes unceasingly.
quality in works by Shih Tao and Chu Ta. Naturally, Chu’s works would manifest the
meaning that goes beyond physical form. The present lot invites the viewers into a
In retrospect, Chu committed to the path
spirit and essence of the traditional. Chu’s
world of dream, where a gulf of whirling
of abstract painting after his inspirational
painting transpires a translucent vitality
wind and mist occupy the upper plane,
encountered with works of the Russian
that extends beyond the realms of the
the clashing and interconnectivity of the
expatriate artist Nicolas Staël in 1956. Chu
visible world of nature. As Art historian
rhythmic lines that oscillated amidst the
identified the possibility of progressing
Michael Sullivan remarks, "We must put
quivering spatial arrangement, further
his artistic vision through the using
conscious thought aside, allow sensibility
juxtaposed against the monochromatic
colors apparent in De Stalë’s works. In
and intuition to open the channels to
shades of luminous carol red that gently
this regard, Chu excels at synthesizing
the heart of it and lose ourselves here."
h i n t s a t t h e d e x t e r i t y o f t h e a r t i s t ’s
his brush strokes that echo of Classical
In essence, the present lot is filed with
brushstrokes. It illustrates Chu’s mastery
calligraphic reference with the beauty
movements, as the wild meandering lines
in comprehending the harmonic nuances
of his abstraction giving a loose rein to
filled the surface with a spirit of lively
of the natural world, the resulting work
the naturalistic impulse of his the soul
energy, spinning, leaping, trembling,
i s s a t u r a t e d w i t h e n e rg y, s e n s i b i l i t y,
in conveying the mysterious and eternal
stretching, with seldom a still moment.
and sp onta neity as the bro ad swaths
qualities of nature. Incidentally, Chu had
Nevertheless, the constant motion is a
and unrestrained calligraphy like lines
worked with gouaches and had instilled
harmonious one, reflecting a deep poetic
gathered and intertwined in a proliferation
in his creations a nostalgic air of epochal
sense of contemplation, passion and love
and become a field of tumultuous action
characteristics derived from the oriental
of Chu’s vivacious heart.
that captivates the vehement fervor
s p i r i t t h ro u g h t h i s o c c i d e n t m e d i u m
and dynamic momentum of the natural
brilliantly. For lack of Chinese xuan paper
world that has no end and no beginning.
in Paris at the time, he would at times
"Composition No. 206" encompasses the
utilize soaking paper to paint instead.
mysterious realm between form and the
Crucially, Chu featured mainly gouaches
揉東西之華彩
FAN KUAN HAS SAID THAT “LEARNING FROM NATURE IS BETTER THAN LEARNING FROM MAN, AND THE HUMAN HEART IS AN EVEN GREATER SOURCE OF LEARNING THAN NATURE.” WHAT HE MEANT WAS THAT IT IS THE PAINTER WHO IS IN CONTROL, AND THAT A CONCEPT OF ABSTRACTION ALREADY EXISTED IN HIS TIME. THE CHINESE PEOPLE JUST DIDN'T USE THE TERM ‘ABSTRACTION’, THAT'S ALL. THE ARTIST ABSORBS WHAT HE SEES IN NATURE AND REFINES IN HIS MIND, AND WHAT IS REVEALED ON CANVAS IS THE POWER OF THE ARTIST’S IMAGINATION, HIS SENSIBILITY, AND HIS INNER CHARACTER. THIS IS WHERE THE CONCEPTS BEHIND CHINESE PAINTING COME TOGETHER WITH THE IDEA OF ABSTRACTION.” – CHU TEH-CHUN
《構圖第206號》一探朱德群澎湃的抽象藝術世界。畫中雄渾與精細
書法之意，於作品的抽象美感中釋放存蓄於靈魂深處的寫生本能，
的筆觸交錯並陳，蘊含超脫形體的詩意與玄妙，邀請觀者一同進入夢
表達出自然的奧妙與恆久。朱德群運用水粉彩作畫，精妙地透過西洋
迷之境。本拍品上部狂風吹拂，層霧瀰漫，充滿律動而相互激盪的
媒介呈現源自東方的韻味，展現劃時代的創作特色。而在1962年，
線條於搖曳的廣闊空間中擺漾，與幌亮純粹的珊瑚紅色調形成強烈對
朱德群於勒讓特畫廊（Galerie Henriette Legendre）二次開展，展
比，於精微之處展現出畫家靈活的技法。本作體現朱掌握自然界的和
品多為水粉彩畫。朱德群欣賞明清兩代的山水畫作，特別看重石濤、
諧精妙之處，筆觸飽富能量、細緻與靈思；豪邁不羈的線條聚纏成一
朱耷的抽象表現。朱德群的作品自然流露出傳統精髓，畫作隱隱透出
派喧騰之流，捕捉了自然界無邊無際的洋溢盛氣。《構圖第206號》
無限生氣，跨足無形的自然之界。藝術史家蘇立文評道：「忘懷理智
寄於有形與無形之間，處於須臾與永恆之界，體現朱德群變化萬千的
思想，循直覺感性，恣意忘我。」本作深具動感，蜿蜒的線條為畫作
無窮宇宙，引導觀者徘徊其中。
帶來一股生氣，或旋轉、跳躍，或顫動、展延，少有一刻靜置。雖變 化不斷卻也平和諧致，反映出朱德群心中的沉思化境、真摯熱忱與情
1956年，朱德群受流離在外的俄國藝術家史塔耶爾（N i c o l a s d e
意，澎湃而洶湧。
S t a ë l）作品啟發，投入抽象畫風。朱德群納史塔耶爾鮮明的色彩風 格，拓展自己的藝術視野。琢磨此法之際，朱德群擅用筆觸，承傳統
Ravenel 83
030
SU XIAOBAI
(Chinese, b. 1946)
Good Trip (diptych) 2005 Oil on board, lacquer on linen cloth 43 x 146 cm Signed lower right Su PROVENANCE: Galerie Renate Kammer, Hamburg, Germany Private collection, Hamburg, Germany EXHIBITED: Wish you a Safe Journey: An Exhibition of Xiaobai Su's Paintings, Galerie Renate Kammer, Hamburg, Germany, November 1 - December 1, 2007 ILLUSTRATED: Wish you a Safe Journey: An Exhibition of Xiaobai Su's Paintings , invitation of Galerie Renate Kammer, Hamburg, 2007
HK$ 240,000 - HK$ 360,000 NT$ 1,017,000 - NT$ 1,525,000 US$ 31,000 - US$ 46,500
蘇笑柏 良遊（雙聯幅） 2005 油彩 木板 大漆 亞麻布 43 x 146 cm 簽名右下：Su 來源： 卡瑪畫廊，漢堡，德國 私人收藏，漢堡，德國 展覽： 「一路平安 – 蘇笑柏畫展」，卡瑪畫廊，漢堡，德國， 展期自2007年11月1日至12月1日 圖錄： 《一路平安 – 蘇笑柏畫展》展覽邀請函，卡瑪畫廊，德國， 2007
Ravenel 85
"I AM CONCERNED WITH PAINTING TECHNIQUES BECAUSE OF THEIR POTENTIAL IN AFFECTING THE INDEPENDENCE EXISTENCE OF PAINTINGS. A PAINTING BY ITSELF IS JUST A THIN PIECE OF CANVAS BUT ALL OF ITS INTERPRETATIONS SPRING FROM THIS PIECE OF FABRIC. MY JOB IS TO MAKE THIS PIECE OF FABRIC WORK. MANY IN THE NATURAL AND SOCIAL SCIENCES FIELD TALK ABOUT THIS PIECE OF FABRIC, ENCOMPASSING MANY THEORIES AND METAPHYSICAL DISCUSSIONS. THIS IS THE MACRO ENVIRONMENTAL IN WHICH ARTISTS LIVE IN. IT'S IMPORTANT, BUT IT IS JUST THE BACKGROUND, NOT THE ESSENCE. MY ESSENCE IS THIS SURFACE LAYER. IT IS A LAYER OF TEXTURE; IT HAS TO UNDERGO A DRYING PROCESS, IT MUST BEAR PAINT AND OTHER MATERIALS. THE THICKNESS OF THE PIGMENT DIRECTLY REFLECTS COLOR SATURATION. " – SU XIAOBAI
我關心繪畫手段作為繪畫本身的獨立存在的可能性。一幅畫，充其量顯現給我們 的是畫面上那薄薄的一層皮，之後的一切闡釋都是這張皮派生的。我的任務是地 道的弄好這層薄皮。想想多少自然學科，社會學科圍繞著這層表皮在研討，在理 論，在形而上；這是藝術家們生活的大環境，非常重要。但只是環境，不是本 體。我的本體是表面上呈現出的表皮。它是一層肌理，它要有乾燥的過程，它要 有承載物，顏料的顆粒粗細直接折射出色彩的飽和度。 – 蘇笑柏
Su Xiaobai, a visiting artist in Germany, views his work through the
takes on a rich, gray tone with polishing. The titles of Su's abstract
cool, speculative lenses of a philosopher. He studied art at the
paintings are often mere codes and do not denote any particular
Wuhan School of Arts and Crafts and the Oil Painting Department
image or story. The pictures present a collision of curves, straight
of Beijing Central Academy of Fine Arts. He traveled to Germany to
lines, and blocks of color. There are no objects, no explanations or
study at the Düsseldorf Academy of Fine Arts in the 1980s.
descriptions. This is the allure of his art.
In Su's eyes, art not only integrates culture but is also a fusion of
旅德畫家蘇笑柏以哲人般冷靜思辨看待自己的創作。他早年在武漢工藝
technical skill and logic. For a long time, China's literati painters
美術學院和中央美術學院油畫系學習，1980年代赴杜塞道夫藝術學院
have long viewed themselves as being on a higher plateau than
深造。對他而言，融合的不僅是文化，更是技藝與邏輯的結合。長久
mere artisans and craftsmen, such arts and crafts have always been
以來，中國的文人畫家一直恥於與匠人同列，工藝美術被隔絕於藝術門
delegated to second class. Su is different, switching from oils to
外。蘇則反其道而行之，由油彩轉向中國傳統工藝的大漆。至於材料的
traditional Chinese lacquer. He has stated that his choice of lacquer
選擇，他曾坦言，選擇大漆與弘揚中國民族傳統瑰寶毫無關係。而是基
as a medium is not a promotion of this traditional Chinese art but
於色彩的佈置和畫面營造。他常以大漆浸透麻布繃在木板上，亞麻布的
rather interest in the arrangement of colors and the creation of a
肌理隱隱浮現，從而營造出層次與縱深。大漆氧化之後色彩變暗，經過
scene.
藝術家的打磨呈現出豐富的灰調子。
The artist soaks the linen in lacquer and stretches the fabric over
而抽象繪畫的作品名稱往往只是一個代號，不指代任何具體的形象或故
wooden frames. The texture of the linen is subtle but present,
事情節。畫面中呈現的是曲線，直線，色塊邊緣的碰撞，沒有物件，不
creating layers and depth. The lacquer darkens after it oxidizes and
解釋亦不描述。這正是他的藝術的魅力所在。
Ravenel 87
031
CHIU YA-TSAI
(Taiwanese, 1949-2013)
Woman of Curled Hair 1988 Oil on canvas 81 x 65 cm Signed lower right Chiu Ya-tsai in Chinese ILLUSTRATED: Chiu Ya-Tsai, Goethe Art Center, Taichung, 2006, color illustrated, p. 157
HK$ 260, 000 - HK$ 400, 000 NT$ 1,102,000 - NT$ 1,695,000 US$ 33,500 - US$ 51,600
邱 亞才 捲髮女子 1988 油彩 畫布 81 x 65 cm 簽名右下：邱亞才 圖錄： 《邱亞才》，哥德藝術中心，台中，2006，彩色圖版，頁157
"I, Chiu Ya-tsai, did not use my age and experiences to introduce myself, I write about humanity. I utilize my acute subjective attitude to sculpture and create my characters ... I paint people engaging in life and the interplay between ecology and humanity that induces dreams. The elderly and the young employees, middleaged man who are walking and driving, school children; The morning, afternoon and evening. The act of strenuous observation allows one’s imagine to guide oneself towards the destination of sunrise. My innate qualities enable me to be sensitive towards colours, painting makes my eyes shine." - Chiu Ya-tsai 「我，邱亞才，在我的簡介中，沒有用年齡的經歷來介紹自己，我寫的是人性。我總用極端熱烈 主觀的語氣和心態來雕塑、創造人物…我畫我生活中的人們，和其生態與人性的舞台，有紅樓和 夢的廣場。老人、上班族的年輕人、開車走路的中年人、上學的兒童學子，早晨，中午和晚上， 只要有心觀察，想像會露在你走到日出的地方。天賦給我彩繪造色的性格，繪畫使我眼睛發亮。」 - 邱亞才
Ravenel 89
“WHAT I REPRESENT IS THE URGENCY I FEEL TOWARDS TIME AND THE DIFFERENT STAGES IN LIFE. IT IS SOMETHING VERY PERSONAL, BUT THE COMPLETE EXPERIENCE OF LIFE IS EXACTLY WHAT I WANT TO EXPRESS.” – YANG CHIHUNG
Yang has actively engages in artistic production since he gained prominence during the 80s in New York. His works are not just visual performances; they also embody his deepest understanding of the world. He explores the integral realms of life according to his own reality and experiences through means of abstraction. "Botanical Studies" constitutes part of Yang’s oeuvre that explores the aesthetics of plants during the late 80s and the early 90s. The artist draws upon the harmonious and mystical qualities of nature in depicting these lyrical botanical as they emerge on the canvas. The utilization of brown extenuates the silhouettes of these botanicals as they outcrops from a backdrop of earthy reds, yellow and white. Yang's unique spatial arrangement and his chiaroscuro surface creates a heightened awareness as the interplay of light and darkness remains a constant in Yang's imagery, silently capturing a moment of stillness and fragility of these botanical as the earthy gloom on the left of the canvas give rise to the sprouting botanicals in near proximity. The resulting composition is romantically nostalgic, reflective of a sensuous luminosity and vibrant liveliness that remains so integral to all live forms.
「我所表現的就是我個人對時間，生命中不同的階段感受 到的一些迫切性，是很私人的東西，但是所要表達的是在 整個生命的情景和體驗。」 – 楊識宏
BOTANICAL STUDIES
80 年代時，楊識宏於紐約嶄露頭角，便不斷積極創作，根據自己感知的
YANG CHIHUNG
的表演，更是他思索生命情景，融合個人生活體驗和由外而內的觀照。
現實與體會，探索生命，並訴諸於抽象手法。其作品不僅限於視覺形象 《植物學研究》為他於80年代末至90年代初探索植物美學的作品之一。 楊識宏善用大自然和諧神祕的特質，繪出抒情婉約的植物旖旎；畫中褐 色使得立於赭黃白三色背景上的植物形影更為舒緩柔美。楊識宏獨到的 空間配置與明暗對比加強藝術傳達的力道；明亮與幽暗的交錯常現畫 中，捕捉了植物的靜謐纖柔。而畫中左側的大地色彩，則烘托出鄰近佇 立的植物。整張畫作散發出唯美情愫，呈現所有生命形式皆具備的光采 與靈性。
032
YANG CHIHUNG
(Taiwanese, b. 1947)
Botanical Studies 1994 Acrylic on canvas 152.5 x 198.5 cm
楊識宏 植物學研究
Signed on the reverse Chihung Yang , titled Botanical Studies , and dated 1994
1994 壓克力 畫布 152.5 x 198.5 cm
EXHIBITED: Chihung Yang , J. P. Art Centre, Kaohsiung, 1995
簽名畫背：Chihung Yang Botanical Studies ©1994
ILLUSTRATED: Chihung Yang , J.P. Art Centre, Kaohsiung, 1995, color illustrated, no. 27, pp. 66-67
展覽： 「楊識宏個展」，琢璞藝術中心，高雄，1995 圖錄： 《楊識宏畫集》，琢璞藝術中心，高雄，1995， 彩色圖版，編號27，頁66-67
HK$ 300,000 - HK$ 500,000 NT$ 1,271,000 - NT$ 2,119,000 US$ 38,700 - US$ 64,500
Ravenel 91
033
WALASSE TING
(Chinese-American, 1929-2010)
Reclining Nude with Flowers and Cat c. 1980s Acrylic on rice paper mounted onto canvas 96 x 139 cm With one seal of the artist PROVENANCE: Private collection, Amsterdam
Freshness, vitality and brilliant color characterize Walasse Ting's depictions of women, flowers, birds and animals executed in a
HK$ 260,000 - HK$ 400,000 NT$ 1,102,000 - NT$ 1,695,000 US$ 33,500 - US$ 51,600
powerful and highly individualistic style. Ting, also known as "The Flower Pirate", spent his whole life exploring the beauty expressed in the nudity of women. He was constantly in a pursuit for a new language for expression, while insisting on the same theme throughout his life, at the same time requiring to be real to himself.
丁 雄泉 側臥裸女、花與貓 約1980年代 壓克力 宣紙 裱於畫布 96 x 139 cm 鈐印左上：採花大盜 來源： 私人收藏，阿姆斯特丹
Every woman shows a beauty of her own, and under the contrast of the parrots and the flowers presents distinct bright layers of beauty. Ting said, "Before I paint I am a man, after I paint I am a
woman." Ting used his male strength to depict female softness; he abandoned secular binding, and revealed the true self in the blossom. The artist once said, "It doesn't matter that I see beautiful women
and fresh flowers. They both make me empty and sensitive. They make me fresh, make me different, make me new born.I use many, many colors. Make my energy and love explode on the canvas. I have painted pictures all my life, for 50 years. I only want to express freshness. From beauty to love to fresh. Like a newborn spring." Ting's paintings are reflection of his personality as well as his philosophy of life. It is fresh, passionate, beautiful, timeless, vibrant, and full of love and affection. 清新、活力和明亮的色彩，是丁雄泉創作以婦女、花鳥、動物為主題時 的鮮明特點，具有強烈個人風格和感染力。丁雄泉也被藝術界稱為「採 花大盜」，一生都在探索女性裸體所呈現的美。在終生堅持自己的創作 風格，堅持真實自我的同時，他還在不斷追求一種新的繪畫語言表達方 式。每個女人都有自己獨特的美，正如鸚鵡與鮮花，各自呈現的美既鮮 明且獨特一樣。丁雄泉說：「畫之前，我是男人，畫成後，我就變成了 女人。」他用自己男性的陽剛來描繪女性的陰柔；他拋卻世俗的束縛， 來表達事業蓬勃時的真實自我。 「無論我看到漂亮的女人，還是鮮花，他們都會讓我感到空靈和敏感。 他們讓我充滿活力，讓我有別樣的感覺，讓我像新生一樣。我使用很多 色彩，讓我身上的能量和愛在畫布上爆發。我終生從事油畫事業，已經 50年了。我想要表達的就是清新。從美到愛再到清新。就像一個新生的 春天。」丁雄泉的畫作不僅體現了他的個性，也反映他的人生哲理。那 就是清新、激情、 美麗、永恆、活力，愛和情感。
Ravenel 93
034
WALASSE TING
(Chinese-American, 1929-2010)
Sweet Milky Way 1969 Acrylic on canvas 76 x 102 cm Signed on the reverse Ting , titled Sweet Milky Way and dated 69
The Chinese-American artist Walasse Ting created many great works during his long and celebrated artistic life. He was born in Wuxi, China, and grew up in Shanghai. He studied at Shanghai Academy of Art. Later, he traveled overseas to start artistic career, which lasted over a decade. Ting soon became good friends with several members of the art group CoBrA, which flourished in Europe in the late 1940s and early 1950s, finding the group's style and outlook congenial to his own
HK$ 500,000 - HK$ 800,000 NT$ 2,119,000 - NT$ 3,390,000 US$ 64,500 - US$ 103,200
nature. During this period, he held exhibitions in Paris and Brussels simultaneously, before moving to New York in 1958. There he found himself on the cusp of the abstract-expressionist movement, and later became one of the first people to recognize the unique talents of Andy Warhol - Ting himself was also closely associated with the
丁 雄泉 甜蜜銀河
pop art movement. His unconventional character, both debonair and emotional, made the CoBrA group with its focus on free selfexpression his natural playground, while abstract expressionism
1969 壓克力 畫布 76 x 102 cm
allowed him to give free rein to his penchant for sublimating his
簽名畫背：Ting 69, Sweet Milky Way
the everyday, contemporary-reality allure of pop art chimed well
moods via the distinctive dots, lines, planes, colors, shapes and compositions that make up the basic vocabulary of his art. Finally, with Ting's affinity for striking images with mass appeal. Created in 1969, "The Sweet Milky Way" is an epitome of the artist's experiments with style. Heavily influenced by Jackson Pollock, the canvas is covered by seemingly random splashes of oil paint. The large areas of brilliant yellow and rose red with some magenta and apple green in between clearly manifest the artist's whimsical and carefree nature. 已故知名美籍華裔藝術家丁雄泉在其漫長精彩的藝術生涯中留下佳作無 數。他出生於中國無錫，在上海成長，早年曾就讀於美術專科學校。後 赴海外發展，隨即開始了十幾年的藝術創作生涯。 崛起於1940年代末、1950年代初期歐洲的眼鏡蛇畫派，其畫派成員與 丁雄泉志趣相投，在法國巴黎與比利時布魯塞爾的畫廊共同舉辦畫展。 1958年丁雄泉轉往紐約發展，迎上抽象表現主義的時代浪潮，甚至後來 獨具慧眼發掘安迪•渥荷的專才，與之成為「普普藝術」運動的一員。 丁雄泉的瀟灑浪漫性格，與眼鏡蛇畫派強調自我表現的風格相得益彰； 抽象表現主義不以具象描繪為目標，利用點、線、面、色彩、形體、構 圖來傳達各種情緒，相當契合其特質；普普藝術肯定現世，文化親和的 姿態，也和丁雄泉重視趣味、大眾化的特色相近。紐約快速的城市節 奏、未來感，激發丁雄泉於1960年代之後採用的壓克力彩螢光色傳達， 自此風格走向鮮豔明亮的西方色彩。潑灑、滴流，率性的抽象表現主義 成為一大特色。而馬蒂斯的野獸派斑斕色彩及裝飾風格，潛移默化地影 響著丁雄泉的華麗特色。 《甜蜜銀河》作於1969年，完美呈現了藝術家這一時期的探索與嘗試。 畫面被看似任意潑灑的油彩覆蓋，帶有濃重的波洛克風格影響。大面積 的明黃，玫紅，以及間雜其中跳躍的洋紅，青翠的綠色無不透露著藝術 家率性灑脫的性格。
Ravenel 95
035
XIA JUNNA
(Chinese, b. 1971)
Combing & Make-up 2001 Gouache and pastel on paper 54.5 x 38.9 cm Initialed lower right XJN and dated 2001 ILLUSTRATED: Paintings by Xia Junna , Chin Der Jyu Gallery, Taipei, 2002, color illustrated, p. 101 This painting is to be sold with a certificate of authenticity issued by Chin Der Jyu Gallery, Taipei and signed by the artist.
夏俊娜 梳妝 2001 水粉 粉彩 紙本 54.5 x 38.9 cm 簽名右下：XJN. 2001 圖錄： 《夏俊娜畫集》，沁德居藝廊，台北，2002， 彩色圖版，頁101 附沁德居藝廊開立藝術家親筆簽名之原作保證書
HK$ 65,000 - HK$ 95,000 NT$ 275,000 - NT$ 403,000 US$ 8,400 - US$ 12,300
036
GEORGE CHANN
(Chinese-American, 1913-1995)
The Boy Oil on canvas 51 x 41 cm Signed lower left GEO.CHANN This painting is to be sold with a certificate of authenticity issued by Moon River Fine Art Gallery, Taipei.
HK$ 90,000 - HK$ 130,000 NT$ 381,000 - NT$ 551,000 US$ 11,600 - US$ 16,800
陳蔭羆 小男孩 油彩 畫布 51 x 41 cm 簽名左下：GEO.CHANN 附雲河畫廊開立之原作保證書
Ravenel 97
037
WU HAO
(Taiwanese, b. 1931)
Red Roses 1992 Oil on canvas 72.5 x 60.5 cm Signed lower right Wu Hao in Chinese and dated 1992 PROVENANCE: Acquired from Lung Men Art Gallery, Taipei by the present owner
HK$ 55,000 - HK$ 85,000 NT$ 233,000 - NT$ 360,000 US$ 7,100 - US$ 11,000
吳昊 紅玫瑰 1992 油彩 畫布 72.5 x 60.5 cm 簽名右下：吳昊 1992 來源： 原收藏者購自龍門畫廊
038
WU HAO
(Taiwanese, b. 1931)
Still Life with Flowers 1996 Oil on canvas 60.5 x 72.5 cm Signed upper left Wu Hao in Chinese and dated 1996 PROVENANCE: Acquired from Lung Men Art Gallery, Taipei by the present owner
HK$ 55,000 - HK$ 85,000 NT$ 233,000 - NT$ 360,000 US$ 7,100 - US$ 11,000
吳昊 大紅花與靜物 1996 油彩 畫布 60.5 x 72.5 cm 簽名左上：吳昊 1996 來源： 原收藏者購自龍門畫廊
Ravenel 99
039
TSENG YUHO
(Chinese-American, b. 1925)
Infinity in the Palm of a Hand, B 1990 Acrylic and aluminum foil on paper 30 x 38 cm Signed lower right Ho in Chinese With one seal of the artist EXHIBITED: Dsui Paintings by Tseng Yuho, A Retrospective Exhibition , Shanghai Museum of Modern Art, Shanghai, China, April 20 - 30, 1992; National Art Museum of China, Beijing, China, May 5-9, 1992; Taipei Fine Arts Museum, Taipei, Taiwan, August 30 - September 27, 1992; Hong Kong Arts Centre, Hong Kong, October 11 - 20, 1992; National Museum of Singapore, Singapore, March 3 - 15, 1993 ILLUSTRATED: Dsui Hua-Tseng Yuho , Hanart T Z Gallery, Hong Kong, 1992, color illustrated, no. 23, p. 64
曾佑和 掌中千秋-B 1990 壓克力 鋁箔 紙本 30 x 38 cm 簽名右下：和 鈐印右下：曾佑和印 展覽： 「掇畫：曾佑和回顧展」，上海美術館，上海， 展期自1992年4月20日至30日；中國美術館，北 京，展期自1992年5月5日至9日；台北市立美術 館，台北，展期自1992年8月30日至9月27日； 香港藝術中心，香港，展期自1992年10月11日至 20日；新加坡國家博物館，新加坡，展期自1993 年3月3日至15日
This painting is to be sold with a certificate of authenticity issued by Hanart Gallery, Taipei and signed by the artist.
圖錄： 《掇畫：曾佑和》，漢雅軒，香港，1992， 彩色圖版，編號23，頁64
HK$ 26,000 - HK$ 42,000 NT$ 110,000 - NT$ 178,000 US$ 3,400 - US$ 5,400
附漢雅軒畫廊開立藝術家親筆簽名之原作保證書
040
YANG CHIHUNG
(Taiwanese, b. 1947)
Grace 1991 Acrylic and oil on canvas 60.5 x 45 cm
楊識宏 三朵花
Signed lower right C. Yang and dated 91 Signed on the reverse Chihung Yang and dated 1991
1991 壓克力 油彩 畫布 60.5 x 45 cm
This painting is to be sold with a certificate of authenticity issued by Contemporary Gallery, Taipei and signed by the artist.
簽名右下：C. Yang 91 簽名畫背：Chihung Yang 1991
HK$ 26,000 - HK$ 42,000 NT$ 110,000 - NT$ 178,000 US$ 3,400 - US$ 5,400
附台北時代畫廊開立藝術家親筆簽名之原作保證書
Ravenel 101
041
JOHN WAY
(Chinese-American, 1921-2012)
Abstraction 1994 Oil on canvas 61 x 76 cm Signed lower right John Way and dated 94 ILLUSTRATED: John Way , Shanghai Art Museum, Shanghai, 2001, color illustrated, p. 187 This painting is to be sold with a certificate of authenticity issued by New Age Art Gallery, Taichung and signed by the artist.
魏樂唐 抽象 1994 油彩 畫布 61 x 76 cm 簽名右下：John Way 94 圖錄： 《魏樂唐八十回顧》，上海美術館，上海，2001， 彩色圖版，頁187 附新時代畫廊開立及藝術家親筆簽名之原作保證書
HK$ 50,000 - HK$ 80,000 NT$ 212,000 - NT$ 339,000 US$ 6,500 - US$ 10,300
042
WANG YEHAN
(WANG Yihui, Chinese-Canadian, b. 1959)
WS545 2007 Acrylic and oil on canvas 110 x 150 cm Signed lower right Yehan and dated 07 Signed on the reverse Yehan and dated Dec 2007 , titled WS545 , inscribed For Catherine & Dominique, with my best wishes from Shanghai
王益輝 如煙似夢 2007 壓克力 油彩 畫布 110 x 150 cm
PROVENANCE: Acquired directly from the artist
簽名右下：Yehan 07 簽名畫背：WS545 For Catherine & Dominique, with my best wishes from Shanghai Yehan Dec 2007
This painting is to be sold with a certificate of authenticity signed by the artist.
來源： 得自藝術家本人 附藝術家親筆簽名之作品保證書
HK$ 85,000 - HK$ 130,000 NT$ 360,000 - NT$ 551,000 US$ 11,000 - US$ 16,800 Ravenel 103
043
PANG JIUN
(Chinese, b. 1936)
Vegetable Market, Hong Kong 2008 Oil on canvas 60.5 x 72.5 cm Signed lower left Pang Jiun in Chinese and dated 2008 With one painted seal of the artist ILLUSTRATED: The Art of Pang Jiun , National Art Museum of China, Beijing, China; National Museum of History, Taipei, Taiwan, 2008, color illustrated, p. 74
Bor n and bred as an artist, Pang remained active and immersed in art throughout his entire life. His parents had undergone the baptism of Western oil painting, and been great promoters of modern art in China. Absorbing both the experience and knowledge of his parents, while at the same time being imbued in Oriental art and culture, Pang Jiun soon began to develop his own individual style of painting. Pang Jiun’s oil painting style has all the characteristics of Eastern art, including a penchant for lines drawn in black ink, which add whole new shades of aesthetic allure to his artistic vocabulary, firmly underlining the compact yet passionate quality of his work. Pang has earned particular praise for his sublime grey tones, both classical and modern in their
HK$ 160,000 - HK$ 240,000 NT$ 678,000 - NT$ 1,017,000 US$ 20,600 - US$ 31,000
appeal. Some people say that Pang’s paintings “are a bit
reminiscent of Wu Guanzhong’s,” and this is probably largely due to the fact that both artists are fond of using the color grey and enjoy a lyrical mode. However, their styles are really quite distinct. Others have called Pang Jiun “the Qi Baishi of
龐均 菜市場•香港（富善商場）
oil painting,” a statement indicative of their shared love of the freehand (xieyi) style and ability to capture the essence of their subjects. As Qi Baishi himself put it, “The art of painting
2008 油彩 畫布 60.5 x 72.5 cm
lies in treading the fine line between likeness and unlikeness:
簽名左下：龐均 2008 手繪鈐印：均
kitsch.”
圖錄： 「龐均的油畫藝術」，中國美術館，北京，中國； 國立歷史博物館，台北，2008，彩色圖版，頁74
if your work does not resemble your subject at all, you are just a cheat; if it resembles it too much, you are just producing
藝術世家的出身，讓龐均的一輩子幾乎與藝術結下不解之緣，父 母接受西洋油畫的洗禮，為新派藝術的推動者。在父母的歐洲文 化經驗與東方文化經驗雙重影響下，龐均自由地發展出個人的繪 畫風格。 龐均獨創的油畫風格具有東方的特色，對於筆墨線條的偏好、添 加油畫豐富的語言，鮮明、俐落、熱情的表現，結合出獨樹一格 的龐均畫風。而最為人津津樂道的是龐均繪畫中既現代又古典的 「灰色調」。有人說他的畫「有點像吳冠中」，應是兩人偏愛灰 色，都重詩意，但其實風格不盡相同；也有人說龐均像是「油畫 家裡的齊白石」，說明著龐均著重寫意，表現對象的精神，也是 所謂的「妙在似與不似之間，不似為欺世，太似為媚俗」（齊白 石語）。
Ravenel 105
044
CHEN CHENG WEI
(Chinese, b. 1984)
Series on the Republic of China – Touched 2014 Oil on canvas
陳承衛 大民國 – 動情
60 x 50 cm
2014 油彩 畫布 60 x 50 cm
Signed lower right Chen Cheng Wei in Chinese and English
HK$ 160,000 - HK$ 240,000 NT$ 678,000 - NT$ 1,017,000 US$ 20,600 - US$ 31,000
簽名右下：陳承衛 Chen Cheng Wei
In 2002, Chen Cheng Wei was admitted to Chinese Academy Of
2002年，陳承衛以全國專業成績第一考入中國美術學院，並獲得中國美
Art with the highest score of the nation, and was granted with the
術學院畢業創作最高獎—學院獎。畢業之後定居北京，從事繪畫創作。
highest award - the Academy Award - by the Chinese Academy of
2009年進入中國油畫院，受到楊飛雲等油畫界前輩名師的繪畫美學影
Art for the best graduation work. After finishing school, he settled
響，先後去法國，義大利，荷蘭等地遊學。陳承衛崇尚林布蘭等西方油
in Beijing for his painting career. In 2009, he started working at
畫大師，他的作品注重古典韻味，光線和人文氣息，將中國元素與當下
the Chinese Academy of Oil Painting Department, and, influenced
觀念巧妙結合。
by oil painting masters such as Feiyun Yang, Chen studied abroad in France, Italy, and the Netherlands. Chen admires western oil
陳承衛熱愛生活，積極樂觀，但喜歡跟自己較勁，周圍的朋友都說他是
painting masters such as Rembrandt. He accentuates his work with a
天道酬勤，他卻自嘲有強迫症，一天不畫畫難受。記得他說過，「學
hint of high culture, the classical, and a careful depiction of lighting,
習大師就要學大師的某個契合自己的元素，拿捏住分寸，多了則失去自
integrating Chinese elements with modernity flawlessly.
己，少了而沒有說服力」，這一點恰恰體現在他的作品之中。陳承衛的 作品，帶著情感並注重細節，畫的輕鬆且鬆弛有度，他有著遠大理想和
Chen Cheng Wei embraces his life. He is optimistic and progressive,
實現理想的行動力，正如他所說，他還在努力思考還在進步，會有更多
and yet pushes himself quite rigorously. His friends commented
的突破。
that he is a workaholic, yet he joked that it is only his OCD at work, forcing him to paint every day. He once said, "When studying the
如今的「大民國系列」，已經成為他標誌性的符號。這一系列的作品帶
masterpieces, you first have to know which elements suit your
著細膩的情愫，情緒把握到位，含而不露，隱約可見絲絲情感。繪畫
style, and then find the balance between emulating and creating.
技法屬於半透明罩然技法，有著西方古典繪畫和名師藝術語言的巧妙傳
Otherwise, you'd either be like a copycat or seem inexperienced."
承。「大民國系列」是畫家過去幾年積累的結果，具有文化性與歷史
Chen's works reflect this belief. While they are full of emotions and
性，又不失當代感。本件作品，畫面的歲月感和現實感微妙的並存，同
details, everything feels natural and Chen seems to have painted
時又是一種歷史的鏡像，畫中人含情脈脈的眼神，打動人心，帶給人們
them with ease. He has grand ideals and readily takes action to fulfill
無限的遐想空間。
them. Like he said, he is still learning and discovering his ways there is bound to be more breakthroughs. "The Republic of China" series has become the representation of Chen. The depiction of sentiments is exquisite - they are felt, yet not shown; so slight, but still perceivable. He utilized glazing on semi-solid media, a technique that he cleverly learned from the artistic language of classical western masterpieces. Painted over many years, the series of "The Republic of China" is both cultural and historical, while also exhibiting a sense of modernity. Both the passage of time and the reality of the moment subtly find their ways in this work. It is also a mirror for history. The eyes, full of sentiments, touch the viewers' heart and give them an infinite space for imagination.
Ravenel 107
045
QU LEILEI
(Chinese, b. 1951)
Figure 12 2011 Ink on paper 91 x 172.3 cm Signed lower left Leilei in Chinese and dated the year of 11 in Chinese With two seals of the artist PROVENANCE: Galerie Frank Pagès, Geneva Private collection, Asia EXHIBITED: Qu Leilei, China Ink , Galerie Frank Pagès, Geneva, May 27 - July 19, 2014.
曲磊磊 光影12 2011 水墨 紙本 91 x 172.3 cm 簽名左下：磊磊十一年 鈐印左下：曲 磊磊畫印 來源： 法蘭克．巴吉畫廊，瑞士 亞洲私人收藏 展覽： 「曲磊磊水墨展」，法蘭克．巴吉畫廊，日內 瓦，展期自2014年5月27至7月19日
HK$ 200,000 - HK$ 300,000 NT$ 847,000 - NT$ 1,271,000 US$ 25,800 - US$ 38,700
Qu Leilei is one of the founders of The Stars Group. He settled in
on lines in traditional Chinese paintings. Consequently, his style is
London in 1985, and became the President of the British Foundation
very memorable. By blending lights and shadows with ink, Qu has
for Chinese Painting and Calligraphy in 1999. He started combining
perfectly combined the western with the eastern, and the traditional
ink wash with lights and shadows as he grew familiar with traditional
with the modern.
European art. He strived to recreate the qualities of Renaissance masterpieces using Chinese ink wash and Xuan paper. In this way, his
曲磊磊是星星畫會的創始人之一。1985年赴倫敦。1999年被推舉為英國
works are unique. They are unlike western paintings because he uses
中國書畫家會會長。在近距離和歐洲傳統藝術接觸中，形成了他對光影
Chinese writing brush, ink wash, and Xuan paper, but they also differ
和水墨相融合的探索。他力求以東方的視角，在中國的水墨和宣紙上，
from the traditional Chinese Southern School painting. He integrates
體現歐洲文藝復興大師們的追求。他的畫大異於傳統的中國畫，因為他
the sort of lines seen in Southern School works with the professional
用中國的毛筆、水墨、宣紙而畫，也大異於西方畫。文人畫家所表述的
technique of creating tonalities by ink wash layers. Thus, his works
線，而採用專業畫家精心畫出層次分明的墨的色調。如此既有西洋畫的
have both the western realism and the charm of Chinese paintings.
實感，又有中國畫的神韻，可謂意該中西，集眾所善，更自立意，專為
He is truly a master of his own class, making both Chinese and
一家。尤其在用光方面，他有獨到的成就。這是他的畫作的鮮明特色，
western techniques his own. Qu is especially skillful with depicting
也是他的獨創。
lights - this is a distinguishing self-created feature in his art. 曲磊磊的繪畫用的就是光居其首的方法。尤其他最近畫的人體，強調光
The quintessential technique employed by Qu Leilei is the focus on
感。他畫中的明暗、形影，皆靠光而成。遠近濃淡，也靠光而辨。高超
lighting. In particular, his recent works on human bodies emphasize
的技法表現出光和影的極其微妙的層次變化，從而創造出實感，他本人
reflections by light. In fact, all of the contrasts and shadows are
崇尚的藝術靈魂的實感。同時，佈局這些造型時，將如白色大理石般精
the result of lighting. Even the sense of distance and the intensity
美而充實的形體，放在阿拉伯圖案式花草展卷的環境中相對應，不僅造
of the ink depend on his control of illumination. The detailed
成了結構和肌理的對比，而且在團塊和線條，靜和動中都達到了動人與
depiction of lights and shadows makes the subject real, and this
和諧。作品取其用光之妙，捨棄了傳統中國畫以線條為主的法則，故特
realism is what he is fond of for any given artwork. Furthermore, he
色更加鮮明。在光影和筆墨的融合中，把東方和西方，傳統和現代完美
arranged models that appear like white marble figures, radiating
地結合。
and exquisite, in a scroll with Arabesque patterns. This not only contrasts the structure and texture, but also creates a pleasant harmony between the blots and lines, the immobile and the mobile. With clever characterization of lights, Qu overcomes the reliance
Ravenel 109
046
QU LEILEI
(Chinese, b. 1951)
Care 2015 Ink on paper 133.5 x 68 cm Signed upper right Leilei and dated lower left 2015 With two seals of the artist
HK$ 180,000 - HK$ 280,000 NT$ 763,000 - NT$ 1,186,000 US$ 23,200 - US$ 36,100
曲 磊磊 真誠 2015 水墨 紙本 133.5 x 68 cm 簽名右上：Leilei 年代左下：2015 鈐印右上：磊磊畫印 鈐印左下：曲 This painting shows that when we express "sincerity", we tend to hold both of our hands and reach out for the lights. In other words, the artist portrays the hands this way to capture how people tend to seek console when they face uncertainties. It is the sincere support from others that gives people courage and power, and provides hope for humanity. Qu layers the emotions in his art with ink wash and Xuan paper, and the message, in turn, is imprinted in the viewer’s heart. As one looks at such deep, intense, and exquisite paintings, one cannot help but be impressed by the power of art. More importantly, the series has been incorporated into the collection of the British Museum. This shows that the series has gained the recognition from the museum worldwide for its artistic and academic merits. It is indeed a representative work of the artist. 此幅作品緊握的雙手表達出「真誠」的情緒，採用雙手迎著光 的形式。畫家為何採用這種方式，那是生命在面對未知時，獲 得安慰的手勢。來自真誠的外界情感，可以給予人勇氣和力 量，也正是人類的希望所在。在各種情感的交織下，曲磊磊的 藝術，以水墨宣紙為載體，情感寄託於千里之外。當看到那一 幅幅充滿內涵、深刻、細膩的作品，由衷感歎藝術對生活的表 現力如此打動人心。重要的是，同一系列的作品今年被大英博 物館納入其收藏，可見此系列作品的藝術性和學術性得到了國 際博物館界的認可，是一件藝術家重要的代表性作品。
Ravenel 111
047
AI XUAN
(Chinese, b. 1947)
Tibetan Girl 2011 Ink and color on paper 50 x 77 cm Signed center right Ai Xuan and dated 2011 both in Chinese With two seals of the artist EXHIBITED: Colours from Ink, the First Exhibition of Ink Paintings by Ai Xuan , Kwai Fung Hin Art Gallery, Hong Kong, October 3 - November 2, 2013 ILLUSTRATED: Ai Xuan , Kwai Fung Hin Art Gallery, Hong Kong, 2013, color illustrated, pp. 42-43 This painting is accompanied with a photograph of the artist taken together with the work.
HK$ 360,000 - 550,000 NT$ 1,525,000 - NT$ 2,331,000 US$ 46,500 - US$ 71,000
艾軒 阿壩草原上的女孩 2011 彩墨 紙本 50 x 77 cm 簽名右方：艾軒二零一一 鈐印右方：艾軒 鈐印左下：圭圭 展覽： 「粉墨登場- 艾軒首次紙本作品展」，季豐軒畫廊，香港， 展期自2013年10月3日至11月2日 圖錄： 《艾軒》，季豐美術出版社，香港，2013，彩色圖版， 頁42-43 附藝術家與作品合照一張
TIBETAN GIRL AI XUAN
"In 1973, for the first time I entered the Tibetan inhabited area in western Sichuan. I was around twenty years old. At that time I was very curious about Tibet. This grassland and the Chengdu Plain were simply two different worlds. All fields of vision there, the sky, the land and the people, created extremely great contrasts with those from the area three thousand meters below. I have almost gone crazy being stimulated by those contrasting new things. Everyday from dawn to sunset, I captured almost everything I could see with a pencil to fill my appetite. But at spiritual levels I was on a sleep mode. That “first-time” exotic feeling turned me into a “perpetual motion machine” that replicated everything that had happened." – Ai Xuan As a son of the prominent poet Ai Qing, Ai Xuan ranks the national-level First Rate Painter in China. In his youth, Ai Xuan served on a military farm in Tibet for 4 years, and has visited Tibet even since. He goes to Tibet every year since 1974 in order to collect inspirations for his works, whether they are landscape or figurines, all became the focus of his painting subject matter. The immense views of the surroundings made a great impact to him. Amongst the snowy wildness and the breathtaking tranquility, he was inspired. The boundless bleakness and loneliness made him review his impressions of this mysterious land. This work, created in 2011 by the artist is one of the early work of his ink on paper series. The brushwork is fine and smooth, carrying subtle emotion of the artist. It is a representative work of Ai Xuan’s debut ink on paper exhibition in 2013. 1973年我第一次進入四川西部藏族居住區，那時我20多歲， 對西藏充滿好奇，草地和成都平原簡直是兩個世界，所有的 視覺狀態，天、地、人都和三千米以下的地區構成極大反 差。我被強烈的新物象刺激得幾乎瘋狂，每日從黎明到日 落，用鉛筆捕捉著不問青紅皂白的一切，見甚麼都畫，飢不 擇食。但是精神層面卻處於休眠狀態，那種「第一次」的新 鮮感，把我變成了一台複製所有現象的「永動機」。– 艾軒 艾軒，中國知名詩人艾青之子。青年時期因為曾經被派遣至 西藏軍區服役，後來的作品題材幾乎全部取材自西藏，描寫 西藏的山水人物。而其足跡也深入藏區，從1974年來幾乎每 年都在藏北地區，尋找他畫筆下獨特的西藏風情和人物。當 面對天地間的浩瀚無垠，內心受到極大的震撼，置身皚皚白 雪的荒原裡，感受的靜默與孤寂，自然大地的聖潔偉大，令 他由衷感動，轉而發抒於繪畫之中。本件作品創作於2011 年的作品，屬於艾軒紙上作品中的早期精品，筆觸尤為細膩 而富有感情，也是2013年艾軒第一次紙上作品個展中的代表 作。
Ravenel 113
色彩與旋律譜：龐均的創新東方大寫意
"Lake Shang" fully epitomizes Pang’s scope of talents as the
Pang's passion for life and patriotic tendencies in the form of
artist depicts the splendor of landscape through an exquisite
his unique interpretation of the mild and misty impressions of
utilization of colors. As the earthy tones of the lively trees and
the tranquility of the lake scenery, imbued with a munificent
shrubbery sprigs gently imbued with a subtle majestic blue
dexterity in the utilizing colors, especially his monochromatic
in the foreground opens up to a scene of quiet tranquility of
grey. Pang admits "The reason my landscapes were popular
peaceful solitude, conveying an organic perspective of the
was precisely that they have a fine grasp of the grey tone, To
world in a realistic manner. Incidentally, the perfect evocation
my observation, the grand mountains and deep waters of China
of terrain and mountainous scope in the background frames
are definitely to be portrayed in grey, and the grey, consonant
the sampan floating in the lake as it contrasts with the wooden
with the sentiment and ethereality of Chinese poetry and the
sampan in the foreground connotative of dimensionality,
reserved and low key style of Chinese people, reveals the
where further filigree of yellow florets underneath the trees
spirituality of Chinese Culture. " The resulting pictorial effect
transpire a sense of musicality that is entrenched deeply
is one where the vicissitudes of time are transferred into
into the composition. Pang’s had reference the Beethoven in
poetic and peaceful scenery that parallels the Classical Literati
his writings on artistic techniques in his publications. In this
Tradition. The essential element that lies at the core of Pang's
regard, one could almost hear the echoes of the Symphony
artistic practice is the way in which he observes and expresses
No. 6 through the ambiance derived from the compositional
his subject matter in the objective world, embodying his
arrangement and the lyrical brushstrokes of the present lot,
thoughts, inspirations, and feelings rooted in Pang’s heart.
full of cadence and graceful flowing rhythm that reflects Pang’s affinity for music.
《靜靜的尚湖》徹底體現龐均洋溢的才華，用色細緻，描繪出綺麗 的風景。樹木與灌叢枝枒生動傳神，大地色調上亦添有幾分湛藍，
The most essential characteristic of Pang's ideal oil painting
開展出前景的靜謐祥和氛圍，可謂以寫實手法表現出自然的盎然生
exists in the way he observes and expresses the objective
意。與此同時，背景的山巒與地貌環繞水景，湖心的舢舨更與前景
world, Pang embodies his feelings and thoughts through
的木船相互輝映，造就整體構圖的平遠感。而樹下的澄黃花兒吹
brushstrokes that linger and whirls across the canvas. "Lake
綻，勾勒出的細緻絹絲，傳達出蔓延全作的音樂性。龐於書著中談
Shang" illuminates a refined atmosphere that epitomizes
論藝術技法，賞析貝多芬之風；本拍品構圖和諧，筆觸曼妙，恰若 第六號交響曲從中流洩而出，彷彿可聽聞此作起落有致、優雅流暢 的韻律，映出龐均的鑑樂之情。 龐均油畫的獨到之處在於觀察及表現外在世界的方式。他心中的感 觸及想法在畫布上遊走迴盪的筆觸中顯露而出。《靜靜的尚湖》氣 質雅致，映照出龐均對生命、國土與鄉野的熱愛，以獨特形式演繹 出恬適幽靜的氤氳湖景風光，其色彩運用極為靈巧熟稔，灰調用色 尤是精妙。龐均自述道：「就是因為這個灰色調的表現而被人喜歡 …那時對於大陸的大山大水的觀察，我就覺得必須是灰調子，因為 這也應驗了在中國詩詞裡的韻味和縹緲，以及中國人所隱藏收斂深
Claude MONET, The Coast at Sainte-Adresse , 1864 Minneapolis Institute of Art, Minneapolis, United States. 莫內《聖達特勒斯的海灘》1864年作 明尼亞波里斯藝術學院 明尼亞波里斯 美國
沉的情感，這都是同一個精神性。」他以此法創造圖像效果，將遞 嬗的時序化為富有詩意而平靜祥和的景緻，承襲了傳統文人畫的 風格。龐均的藝術精髓在於描繪客觀外界時，傳達欲呈現的主題之 餘，亦體現一己的想法、靈思以及深植於心的種種感觸。
048
PANG JIUN
(Chinese, b. 1936 )
Lake Shang 2007 Oil on canvas 80 x 112.5 cm
龐均 靜靜的尚湖
Signed lower left Pang Jiun in Chinese and dated 2007 With one painted seal of the artist
2007 油彩 畫布 80 x 112.5 cm
This painting is to be sold with a certificate of authenticity signed by the artist.
簽名左下：龐均 2007 手繪鈐印左下：均 附藝術家親筆簽名之原作保證書
HK$ 480,000 - HK$ 750,000 NT$ 2,034,000 - NT$ 3,178,000 US$ 61,900 - US$ 96,800 Ravenel 115
049
PANG JIUN
(Chinese, b. 1936 )
Montainscape with Boundless Sea 2014 Oil on canvas 60.6 x 72.7 cm Signed lower right Pang Jiun in Chinese and dated 2014 Signed on the reverse Pang Jiun in Chinese and English, titled Montainscape with Boundless Sea in Chinese, inscribed 60.6 x 72.7 cm 20F and dated 2014 With one painted seal of the artist This painting is to be sold with a certificate of authenticity signed by the artist.
HK$ 250,000 - HK$ 380,000 NT$ 1,059,000 - NT$ 1,610,000 US$ 32,300 - US$ 49,000 The name of Pang Jiun and his grey tone are known
龐均 山長水闊知何處
to everyone. Grey, consonant with the sentiment and ethereality of Chinese poetry and the reserved and low-key style of Chinese people, reveals the spirituality of Chinese
2014 油彩 畫布 60.6 x 72.7 cm
culture. He has been called "the Qi Baishi of oil painting."
簽名右下：2014 龐均 簽名畫背：龐均 PANG JIUN 2014 60.6 x 72.7 cm 20F <山長水闊知何處> 手繪鈐印右下：均
Central Academy of Fine Arts had ever seen. He was the
附藝術家親筆簽名之原作保證書
grey tone is Pang’s observation of the grand mountains and
At the age of 18, he was the youngest graduate that the last student that Xu Beihong took under his wings. Pang’s distinct artistic style, sublime and passionate, classical and modern, integrates oil painting and Chinese ink. The poetic deep water in China. 大家都知道有一個畫灰調子的龐均。灰調子，應驗了中國詩詞 裡的韻味和縹緲，和東方所隱藏的情感收斂深沉。有人說他是 「油畫家裡的齊白石」。 十八歲畢業自中央美院，創下「最年輕的大學畢業生」紀錄， 也是徐悲鴻的末代關門弟子。龐均獨創的油畫風格，鮮明、俐 落而熱情，融合油畫和中國水墨的寫意，最為人津津樂道的 「灰色調」著重詩意，是畫家對大陸大山大水的觀察，既現代 又古典。
Ravenel 117
050
PANG JIUN
(Chinese, b. 1936 )
Vase of Flowers
Chinese art critic Shui Tianzhong writes about Pang Jiun’s painting,
2010 Oil on canvas
“If the color of Pang Jiun's still life paintings is characterized by
72.7 x 91 cm
characterized by elegance and implication. When we compare his
Signed lower right Pang Jiun in Chinese and dated June 18 2010 With one painted seal of the artist This painting is to be sold with a certificate of authenticity issued by the Ever Harvest Art Gallery, Taipei and signed by the artist.
floweriness and fullness, the color in his landscape paintings is landscapes with his still lifes, we feel surprised that such distinctly different color tunes come from the same artist, which is expressed by high intense in depicting his painting.” All his works have their own style and mood, and Pang Jiun's flower stills are masterpieces of the genre. In his preface to Poetics-Landscapes , Pang Jiun writes:
“ … the flower works that I paint are more free, and distinguished The flowers are beyond flowers, they are the fuse of colors, strokes, personality and sentiments, illustrating the visual language of
HK$ 220,000 - HK$ 340,000 NT$ 932,000 - NT$ 1,441,000 US$ 28,400 - US$ 43,900
spirituality; it is both western and eastern. Hence, the renowned critic, Mr. Shui Tianzhong's wisdom lies in his comprehension of searching for the innate essence of art creation. Indeed, my works on landscape, after 50 years of persistence on the pursuit of existing characteristics, which is the integration of gray tones
龐均 優雅的浪漫 2010 油彩 畫布 72.7 x 91 cm 簽名右下：龐均 2010 6月18日 手繪鈐印左下：均 附日升月鴻畫廊開立藝術家親筆簽名之原作保證書
and state of mind, the Chinese literati's sentiments, the so-called literati's oil painting. As Yuan Ma and Kwei Hsia, the ‘small view scenery’, ‘the corner view’. Has touched the hearts of thousands of Chinese people. That is poetry but also music, and the realm of grand nobility. The ‘scenery spots’ and ‘historic sites’ are the demands of the common people” . (The preface, Pang Jiun, ‘Poetics - Landscape’) 中國藝術評論家水天中如此講評龐均的繪畫：「如果說龐均的靜物畫色 彩特徵是絢爛與飽滿，他的風景畫色彩特徵就可以說是優雅與含蓄。我 們比照流覽他的風景與靜物，會為迥然不同的色彩情調出自同一畫家之 手而感到驚訝。」不同的主題各有情調，龐均的花卉靜物則能充分地表 現題材。他說道：「我畫花的作品更加自由、出色。畫花並非畫花，而 是用色、用筆、個性，情緒化為一體，呈現精神性的視覺語言，既有西 方又有東方。對此，著名評論家水天中的慧眼是理解到我作畫的本質內 涵。誠然，我的風景作品，五十多年來堅持了我固有的特色，即灰調子 與意境的結合，此乃中國文人化的情懷，所謂油畫文人畫， 正如宋代的 馬遠、夏圭那『小景』、『一角』打動了歷代千萬中國人的心。那是詩 歌，亦是音樂，更是情操極高的境界。畫什麼『景點』、『名勝』乃是 市井之輩之所求。」（龐均〈詩意• 自然〉自序）
Ravenel 119
“TSANG TSOU-CHOI’S SENSE OF THE TOPOGRAPHY OF POWER WAS NOT A STATIC ONE, BUT DISPLAYED AWARENESS OF THE SHIFTS THAT OCCURRED WITH THE RETURN OF HONG KONG TO CHINESE RULE. AT FIRST IN ARTISTIC CONTEXTS AND THEN IN A WIDER WAY, TSANG BECAME ONE OF THE MOST ESTABLISHED SYMBOLS OF HONG KONG CULTURAL IDENTIFY.” – DAVID CLARKE
UNTITLED TSANG TSOU CHOI
Tsang began his life-long career in the 1960s and had
local phenomenon that affirm a distinctive cultural identity
committedly written his genealogy and idiosyncratic
after Hong Kong’s retrocession to mainland China. Tsang
interpretations of history across Hong Kong. The King
calligraphy is reminiscence of a preordained destiny and
of Kowloon derived an individual style and has made his
the survival of a set of ideologies from the past, achieved
art an extraordinary engaging language at a time when
by a figure standing on the margin of society and popular
there was no such category to legitimize it. Crucially, it
culture.
incorporates visual elements that can be interpreted as the summation of an era while simultaneously constituting an idiosyncratic symbol for Hong Kong culture. More specifically, his works echo monumental public calligraphy in traditional China and come across as a public form of visual language of power. The characters on the present lot are deftly arranged whereby large and small
「曾灶財對權力情勢的理解絕非一成不變的，他 意識到香港回歸所產生的轉變。首先是在藝術 圈，之後是在更大的領域裡，曾灶財漸漸變成了 香港文化中一個最廣為人知的象徵。」
characters alternate to achieve a style that excels in its
– 祈大衛
plainness and simplicity, but yet reflects cohesion in the overall composition. The structure of the characters in his creations is coherent and well balanced, but never rigid
曾灶財於20世紀60年代開展其街頭藝術創作的生涯，於香港
and inflexible. In essence, his bold style is not restricted by
各地留下曾氏宗譜及獨特的歷史記述筆跡。「九龍皇帝」的書
formal rules and regulations. Instead, it deviates according
法極具個人風格，他獨闢蹊徑，創建出一套與別不同的藝術語
to space and time, the texture of the surface to be written
彙。此視覺表達手法可解讀為大時代的寫照，也為香港文化開
on, and his moods. In retrospect, Tsang’s eccentric style
創出特立的符號表徵。更特別的是其作品類似傳統中國碑刻書
of writing inspired many subsequent artistic productions
法，可視為鏗鏘有力且平易近人的視覺語言。本拍品上的墨
such as the superimposition of his calligraphy on an ad.
書文字大小相間，顯得簡樸靈巧；字裡行間沒有太多的虛位，
By the 1990s he started to gain recognition in the art
整體結構工整緊湊。不論是直書或橫書，其佈局均規律有致，
world and was included in a series of integral exhibitions.
勻稱和諧，但絕不墨守成規。曾氏的粗體筆觸不受任何書法字
In essence, the characters on the present lot illuminate
體的規範，其書寫風格和筆意因時間、空間、材質和心情而改
ideas that can be easily incorporated into a constellation
變。回首過去，曾灶財的風格獨具，啟發眾多藝術作品，疊
of very real personal and sociopolitical concerns during
用其書法作品的廣告即是一例。1990年代間，他在藝壇逐漸
the millennium, a period marked with economic prosperity
綻放異彩，並於一系列聯展中展出。藝術史家祈大衛（D a v i d
and anxieties that continue to resonate within and far
C l a r k）深刻體悟這位已逝「皇帝」作品中的情懷：從表現反
beyond Hong Kong. The art historian David Clarke derived
英國殖民立場，到回歸中國後，轉為捕捉獨特香港文化認同意
a greater sentimental value from the works of the late King,
識。曾灶財立於社會與大眾文化的狹縫中，創作出匯集命定之
as Tsang’s works were often deemed to be anti-colonial
感及過往種種意識形態的字跡。
under British rule but had transferred into a quintessential
051
TSANG TSOU CHOI
(King of Kowloon, Hong Kong, 1921-2007)
Untitled 2005 Marker ink on paper 48.2 x 54 cm Signed lower right and lower left Tsang Tsou Choi in Chinese, dated in the center October 12, 2005
曾灶財 墨寶 2005 水墨 紙本 48.2 x 54 cm
PROVENANCE: Acquired directly from the artist by the present owner
簽名右下：曾灶財 簽名左下：曾灶財 標記年代：2005年十月十二日
HK$ 60,000 - HK$ 100,000 NT$ 254,000 - NT$ 424,000 US$ 7,700 - US$ 12,900
來源： 現有收藏者直接得自藝術家本人
Ravenel 121
052
GU WENDA
(Chinese, b. 1955)
Mythos of Lost Dynasties Series J No. 19
Gu Wenda was one of the leaders of the New Art Movement
2006 Ink on paper
in China in 1985. In the early 1980s, he used misalignment
113.6 x 76.6 cm
wash paintings. He challenged the orthodoxy and influenced
Signed lower left Wenda , titled Mythos of Lost Dynasties Series J No.19 , inscribed studio on Moganshan Road in Shanghai and dated Spring 2006 all in Chinese With two seals of the artist PROVENANCE: Private collection, USA
and dismemberment in Chinese calligraphy to create ink many artists subsequently. In his early years, Gu studied landscape painting from Lu Yan-shao but his subsequent artistic path diverged from traditional ink painting. His works continue to subvert and challenge our impressions of the genre. Lu remarked once that "Gu isn't just a horse,
he's a wild stallion." Compared with the breakthroughs in both subject matter and medium achieved by popular contemporary ink paintings in recent years, Gu possesses a
HK$ 120,000 - HK$ 180,000 NT$ 508,000 - NT$ 763,000 US$ 15,500 - US$ 23,200
more profound understanding of the genre and is focused on achieving aesthetic breakthroughs. Since 1983, Gu has been committed to the deconstructed exploration of Chinese characters, calligraphy and ink
谷 文達 消失的王朝J系列之十九 2006 水墨 紙本 113.6 x 76.6 cm 簽名左下：遺失的王朝 J 系列之十九 二○○六年春日 文達於上海 莫干山路室 鈐印左下：谷文達印 鈐印中央：（偽文字） 來源： 私人收藏，美國
wash painting. His Pseudo Character Series, a project Gu undertook in the new millennium, combined radicals and Chinese characters to form "Gu-style simplified characters" with traditional ink painting. The pictographic quality of Chinese characters contrasts and combines with the images in the background; there is a painting within characters and characters within the painting. In his works "Mythos of Lost Dynasties", the artist combines seal script calligraphy and his own original "simplified characters". The tangible landscape background is replaced with large patches of ink smudges and the pictographic quality of seal script complements the ink-smudged rice paper to create a certain balance. The picture is often divided into four portions at the center, using two thin red lines with the seal of the artist, ceasing any attempt by the viewer to understand the text. 谷文達是中國八五美術新潮運動的領軍人物之一。20世紀80年代 早期，他用錯位、肢解的書法文字創作水墨畫，借此挑戰正統體 制，影響了後來的許多藝術家。早年他師從山水畫大家陸儼少， 其後的藝術道路卻與傳統水墨背道而馳，作品不斷顛覆我們對於 水墨的印象。讓陸儼少也不禁言道：「谷文達不是一匹駿馬，而 是一匹野馬。」 相較於近年來火熱的當代水墨概念力圖在題材和 媒介方面的突破，谷文達對於當代水墨的理解則更為深刻徹底， 他更關注於水墨藝術美學上的突破。 自1983年起，谷文達就致力於文字，書法，水墨的解構探索。 新千年之後的創作，《虛構文字》系列中他將漢字偏旁和字組合 成為「谷氏簡字」，並與傳統水墨結合。漢字本身的象形特點與 背景中的圖像對照，實現字中有畫，畫中有字。此次呈現的作品 《遺失的王朝》，藝術家將篆書書法與自己的「簡字」結合。有 形的山水背景被在大片水墨暈染取代，篆體自身象形的特徵與水 墨暈染的宣紙相得益彰。畫面通常被兩條赤色紅線分割，畫面中 央鈐印「偽文字」，終結觀者試圖理解文字的企圖。
Ravenel 123
053
HUANG GANG
(Chinese, b. 1961)
Sun from the East 2002 Oil on board, lacquer on linen cloth 80 x 140 cm Signed lower right Huang Gang in English and Chinese ILLUSTRATED: Kee Magazine , The Antithesis, Hong Kong, 2003, issue no.6, color illustrated Huang Gang , People's Fine Arts Publishing House, Beijing, 2008, color illustrated, pp. 56-57 (The stated dimensions and the date of the work are incorrect)
HK$ 130,000 - HK$ 190,000 NT$ 551,000 - NT$ 805,000 US$ 16,800 - US$ 24,500
黃鋼 日出東方 2002 油彩 木板 大漆 亞麻布 80 x 140 cm 簽名右下：Huang Gang 黃鋼 圖錄： 《香港KEE雜誌》，對立出版社，香港，2003，第六 期，彩色圖版 《黃鋼》，人民美術出版社，北京，2008，彩色圖版， 頁56-57（刊物尺寸及年代有誤）
Born in the 1960s, Huang Gang went through Cultural Revolution,
出生於1960年代的黃鋼，童年時期經歷了中國社會最動盪的文革浩劫，
the most unstable period in Chinese history. Changes in the times
時代的變革在他的心理留下深刻的印記。他對西藏的文化，宗教，藝術
have influenced him greatly. He is infatuated with the Tibetan
十分著迷，收藏了不少藏文化藝術精品。這些收藏也融入了他日後的創
culture, religion, and art, and has collected many pieces of Tibetan
作。木刻佛經，結合礦物顏料，丙烯，中國傳統的大漆工藝，金箔，宣
art, which are incorporated into his works later on. For example,
紙都被他運用於作品當中。古老的文化與現代文明激情碰撞，視覺張力
wooden Sutras with mineral paint and propane, traditional Chinese
巨大，震懾人心。童年時的記憶亦在作品中流淌，政治圖像和隱喻在他
lacquerware, gold foils, and rice paper can all be seen in his
2000年之後的作品中表現尤為明顯。策展人盛葳談及黃鋼作品中的政
works. The culture of the past colliding with modern civilization
治符號的意義時曾說：（黃的作品）在不同時代的大眾文化之間做出一
creates great visual impact and leaves a visceral sensation in
種聯結，旨在建立一種關於歷史的敘事；藝術家通過身體力行，在表達
viewers. Childhood memories are also a major theme in his works;
著對傳統文化的敬重 – 正如黃鋼自己多次表述的那樣，傳統文化並不僅
the political symbols and metaphors in his paintings after 2000
僅是被用來調侃的，這種深厚的東方文化傳統不但值得尊重，而且是未
are especially clear. Curator Wei Chen once commented on the
來文化發展的源泉和動力之一。作品《日出東方》以漆，木板結合綜合
meanings of Huang's political symbols: "(Huang's recent works
媒材創作而成。畫面左側的「紅日」與比鄰的龍形圖案躍然背景底色之
show) a connection between various mass cultures in order to
上。熟悉中國文革歷史的人，對於革命歌曲《東方紅》一定不會陌生。
establish a historical narration; respect from the artist - he said
東方升起「紅日」，正是對毛澤東的隱喻。值得一提的是作品並未帶有
several times that when mocking traditional culture, its value also
明顯的褒貶色彩，留給觀者自行評述。
has to be respected. Traditional culture is part of the resources and motivation of future cultural development) ". "Sun from the East" was created with lacquer, wood, and mixed media. The "red sun" on the left and its neighbouring dragon pattern stand out from the background. Anyone who is familiar with the history of Chinese Cultural Revolution must also know the song "The East Is Red." The "red sun" rising in the east is the metaphor for Mao Zedong. Note that there is no clear judgement of the Cultural Revolution in the work itself. All is left for the viewer.
Ravenel 125
054
LI SHAN
(Chinese, b. 1942)
Rouge Series, Mao 2005 Acrylic on canvas
李山 胭脂系列 – 毛澤東
55.7 x 45.6 cm Signed on the reverse Li Shan in Chinese and English, dated 2005 PROVENANCE: Private collection, USA
HK$ 120,000 - HK$ 180,000 NT$ 508,000 - NT$ 763,000 US$ 15,500 - US$ 23,200
2005 壓克力 畫布 55.7 x 45.6 cm 簽名畫背：李山 Li Shan 2005年 來源： 私人收藏，美國
The present lot is a good representation of Li Shan's popular Rouge
of artistic rhetoric, were actually a political discourse and an
series (This title has been used from 1989 to 1993). The portrait
ideological stance. It is in this sense that Li Shan's art is an important
of Mao in the most handsome period in Yan'an. Normally the use
part of the political pop art. At a stage of historical transition, Li Shan
of Chairman Mao's image has a political association. The painting
has sent out the last reminder, with his art, to those who are on the
of the leader in a jesting and humorous way has also reminded
brink of forgetting the history ".
us the Mao painted by Andy Warhol. The Artist means nothing political. Instead, he believes that the society has placed too heavy
李山的《胭脂》系列（自1989年至1993年一直沿用此「名稱」創作）流
a responsibility on the shoulder of art; in his opinion, art is art itself.
傳極廣。此件作品即是其中最具代表性的樣式：毛澤東在延安時期最英
His painting of Comrade Mao's is only a comical reflection of history,
俊的肖像，以調侃的方式作畫，也很容易讓人聯想到安迪．沃荷所畫的
to relieve the heavy burden of art and to say farewell to the history
毛澤東肖像。李山的真實用意恰恰是「捻花一笑」。他沒有別的意思，
by using the once sacred object or image.
只是認為社會賦予藝術的責任太重，藝術就是藝術，他畫毛澤東肖像不 過是開歷史的玩笑，解除藝術的重負，拿曾經最為神聖的東西去向「歷
At the China Modern Art Exhibition held in 1989 at Beijing-National
史告別」是一種非常好的方式。
Art Museum, Li Shan became famous for his performance art "Washing Feet". Prior to that, Li once participated in the planning
1989年在北京中國美術館舉辦的「中國現代藝術展」上，李山以行為藝
and exhibition of "the First Shanghai Concave - Convex Exhibition"
術「洗腳」聞名。在此之前，李山曾經策劃和參與了1986年的「上海第
in 1986 and "the Second Shanghai Concave - Convex Exhibition -
一屆凹凸展」和1988年底的「上海第二屆凹凸展 – 最後的晚餐」。李山
The Last Supper" in 1988. His Rouge series was recognized as an
的《胭脂》被視為二十世紀90年代政治波普的重要象徵。「後八九中國
important symbol of Political Pop Art in the 1990s. The New Art
新藝術」、1993年的「威尼斯雙年展」和1994年「巴西聖保羅雙年展」
from China: Post-1989, Venice Biennale in 1993, and Sao Paulo Art
是李山「胭脂」形象產生影響的關鍵性展覽。同李山對自己藝術的表述
Biennial in Brazil in 1994 were the key exhibitions where Li Shan's
不同，評論家呂澎認為：「李山的表述儘量追求一種遠離意識形態和政
Rouge series gain increasing influence. Different from Li Shan's
治對抗的姿態，他將藝術的目的用一種隱喻性的修辭遮蔽掉了。可是，
own expression about his art, the art critic Lu Peng believes that
在90年代的中國，在政治波普的歷史語境中，李山的這種說法在多大程
"Li Shan attempts to express his opposed political differences
度上能夠被視為可信。那些看來是屬於藝術修辭層面的反諷、揶揄、隱
by taking a stance of keeping away from the direct ideology and
喻、嘲笑、暗示、比喻，實際上也是一種政治的話語，一種意識形態立
political confrontation; he obscures his political view through using
場的選擇。正是從這個意義上講，李山的藝術是『政治波普』中的重要
metaphorical rhetoric. However, in the 1990s of China, within the
部分。在一個歷史轉型時期，李山用自己的藝術對即將忘卻歷史的人們
historical context of political pop art, Li Shan's explanation was
做了最後的提醒。」
largely considered credible. The irony, metonymy, metaphor, jeer, indication, and analogy, which originally belong in the category
Ravenel 127
055
ZHAN WANG
(Chinese, b. 1962)
Artificial Rock No. 61 2003 Stainless steel, edition no. 1/8 51 (L) x 15 (W) x 84 (H) cm
eroded, and one cannot help but link it to the loss of culture. When
Engraved on the bottom Zhan Wang in Chinese, numbered 61 , edition number 1/8 , and dated 2003
culture that stemmed from it. If a culture and its people disappeared,
This sculpture is to be sold with a certificate of authenticity issued by Haines Gallery and signed by the artist.
the culture disappears but its people still exist, that's an entirely
HK$ 900, 000 - HK$ 1,400,000 NT$ 3,814,000 - NT$ 5,932,000 US$ 116,100 - US$ 180,600
we accepted industrialization, at the same time we had to accept the then I guess nothing more needs to be said. But the problem is when different story. We end up with traditional garden rocks placed in front of modern buildings, and a mix of different cultural systems. " (Excerpt, Zhan Wang, The Marks of My Experimental Art) Zhan Wang delved into research with his workers. Making satin in his own way and using brightly shining stainless steel, he links the
展望 假山石61號 2003 不鏽鋼 1/8 51（長）x 15（寬）x 84（高）cm 簽名雕刻底部：#61 展望 2003 1/8
cultural significance of artificial garden rocks to the new stance of modern Chinese culture. This work was created in 2003. A rare piece made with intricate craftsmanship, not only does it display the natural beauty in the creases, leakages, slimness and clearness of garden rocks, it also embodies the beauty of the modern metal industry. "Artificial Garden Rocks" connects both the aged and the modern, inviting artists to reflect on the history and philosophy of the Song Dynasty.
附漢斯畫廊開立藝術家親筆簽名之原作保證書 1995年以後，展望開始了一系列假山石以及浮石的創作。古人把天然太 湖石稱作「假山石」，在展望看來，當這類古典文化中的觀賞石繼續被 用來裝飾當代環境時，它們就真的成了「假」的了，藝術家用不銹鋼製 成的岩石即便是人造的，卻是我們這個時代的「真跡」。展望以不銹鋼 材質塑造的人工化、現代化的「假山石」，對中國傳統文化進行了重新 闡釋，意圖揭示城市工業化進程，冰冷的簡單重覆體現出現代都市機械 Since 1995, Zhan Wang started a series of "Artificial Garden Rock" and "Floating Rock" creations. The ancients called the natural Taihu stones the "Artificial Garden Rock", but Zhan thinks that when using ancient stones to decorate modern contemporary environments, the stone itself is unreal, even he replicated rockery stones with stainless steel, but it fits and belongs to our modern living, it's the product of our era. Artificial Garden Rock that Zhan used stainless steels to create has elaborated the traditional Chinese culture, he wants to describe the industrial developments in the city through ice cold materials, it represents his knowledge to the materials he used to create. This concept also leads him to conduct many art experiments. The series of "Artificial Garden Rock" is unquestionably one of Zhang Wang's representative works. Zhan Wang first began this series of works in 1995. While talking about the creation of this series, Zhan Wang said, "When I saw that
rocks were placed in front of many modern buildings in Beijing as adornments, I realized that this two thousand year-old tradition, which has continued all this time, had lost its meaning. The casual ease in which they are used shows that its spiritual meaning has been
快速的大環境，也是他一貫的對材料語言充分理解的表現。之後，這一 觀念還引導他進行了多次行為藝術創作。「假山石」系列作品也無疑成 為展望標誌性的代表作。 這一系列作品始於1995年，展望在談及創作初衷時曾說：「當我看到 北京的一些現代建築前放置石頭作為裝飾雕塑的時候，我發現這種延續 了兩千年傳統的文化事實上已經名存實亡。從使用它的隨意性可以看出 它在精神層面的喪失，由此聯想到文人文化的喪失，因為我們在接受工 業化的同時，也勢必接受由此帶來的文化，問題是，假使一個文明和使 用這種文明的人們一同消失，則不置可否。但如果文明要消失而使用這 種文明的人們還在的話，那就是另一種情景了，就會出現把傳統園林石 頭放在現代建築前面，這樣的混合不同文化體系的事情就會發生了。」 （摘自展望《我的實驗藝術軌跡》一文） 展望潛心研究，親自帶工人研發創作，用一套他自己發明的鍛製手法、 用明晃晃的不鏽鋼材料把假山石的文化內涵和當下中國的文化境遇、生 存心態作了一種銜接。此件作品創作於2003年，是少有的做工繁複之 作，真實體現了山石皺、漏、瘦、透的自然之美，又兼俱當代金屬的工 業之美，「假山石」連接著古代與當代，帶著藝術家對宋代歷史與人文 哲學的思考。
Ravenel 129
056
DING YI
(Chinese, b. 1962)
Appearance of Crosses 2002-1 2002 Acrylic on tartan 140 x 140 cm Signed lower right Ding Yi , and dated 2002 EXHIBITED: Ding Yi: What's Left to Appear, Long Museum (West Bund), Shanghai, June 6 - July 26, 2015 ILLUSTRATED: Ding Yi: What's Left to Appear, Shanghai, Painting and Calligraphy publishing, Shanghai, 2015, color illustrated, p. 45
HK$ 1,000,000 - HK$ 1,500,000 NT$ 4,237,000 - NT$ 6,356,000 US$ 129,000 - US$ 193,500
丁乙 十示2002-1 2002 壓克力 成品布 140 x 140 cm 簽名右下：Ding Yi 2002 展覽： 「何所示：丁乙個展」，龍美術館（西岸館）， 上海，展期自2015年6月6日至7月26日 圖錄： 《丁乙：何所示》，上海書畫出版社， 上海，2015，彩色圖版，頁45
Ding Yi, who was bor n in Shanghai in 1962, is
said to be latent in the work. The multiple layers
one of the leading Chinese abstract artists. After
of lines of varying thickness contrast perfectly with
graduating from the Shanghai Art & Design
one another, and the latticework of crosses is more
Academy in 1983, Ding Yi was assigned to work
than just a simple array of symbols; it embodies the
in the Technology Section at Shanghai No. 12 Toy
same kind of beauty seen in Chinese calligraphy, and
Factory, where he was involved in designing toys and
seems to reflect the dialectical hermeneutics of Chan
toy packaging. Design work required the production
(Zen) Buddhism. By comparison with earlier works of
of large numbers of drawings, and the "cross"
the "Appearance of Crosses" series, the latticework
symbol was used extensively on these drawings to
approach used in this particular painting embodies
denote the need for the application of colors. This
a richer, more complex aesthetic, reflecting the
gave Ding Yi the inspiration for his "Appearance of
mastery of the artistic lexicon provided by the
Crosses" series of paintings, in which he "sought to
latticework method that Ding Yi had achieved by this
bring painting back to its essential formalist nature."
point, and the flexibility that he displayed in utilizing
Works of Ding Yi have been since shown at the
it.
Venice Biennale in 1993, and the Biennale of Sydney in 1998.
丁乙，1962年出生於上海，被認為是中國抽象派畫家 的領軍人物。他1983年畢業於上海工藝美術學校，後
Ding Yi began working on the "Appearance of
被分配到上海玩具十二廠技術科，從事玩具和玩具包裝
Crosses" series since the late 1980s. Regardless of
的設計工作。由於在設計時需要繪製大量的圖稿，而
whether these paintings take the form of a large,
「十字」符號則是圖稿上用於標示套色過程中的座標，
monochrome work, of a painting on cloth, or of a
丁乙由此逐漸在「使繪畫僅僅回到形式的本質」的理想
work using bright fluorescent colors, they are all
下，形成了自己最具代表性的創作「十示」系列作品。
entitled "Appearance of Crosses" and identified
此外，丁乙早在1993年就參加了威尼斯雙年展，以及
b y a d a t e a n d s e r i a l n u m b e r. F r o m D i n g Y i ’s
1998年的雪梨雙年展。
perspective, the repeated "+" or "x" signs are, in and of themselves, meaningless formal symbols;
80年代後期，丁乙就開始畫「十字」，即「十示」系列
the artistic lexicon utilized in these works derives
作品：這個系列作品，不管是大面積黑色的，或是繪製
from the urban environment created by industrial
在成品布上的，亦或是另外一些強烈螢光色的作品，均
development in post-socialist China.
以標題「十示」連同創作年份的方式來命名。對藝術家 來說，畫中反復出現的主題「+」或「x」是無意義的形
Ding Yi offers this convincing interpretation of his
式符號，其語境則是後社會主義時期中國工業化發展步
own work: The choice of the cross as a symbol
伐下的城市環境。
derives from the fact that this is a symbol with great potential meaning. In Ding Yi’s work as a designer,
丁乙對自己作品有著很好的詮釋：選擇十字恰恰因為它
the cross appeared countless times to indicate
是一個泛含義的符號，在從業經歷中，十字線是無數次
precise "coordinates" that had to be followed in the
被用來標示多次套色的過程中必須遵循的座標式的精確
coloration process. As a printer’s symbol, the cross
細線，它只是印刷業的技術術語與符號，沒有任何用象
had no inherent symbolic meaning or connotations.
徵手法可以獲得聯想的空間，我要濾去所有實際性，使
Ding Yi aimed to eliminate every trace of the "real,"
繪畫僅僅回到形式的本質，形式即精神。 「十」就是規
allowing painting to return to its essentially formalist
定四色印刷品中的符號，它的基本元素最簡單，但經過
nature. Given its role as a symbol indicating a
組合排列後，轉換成一種基本形狀，情況就不一樣了，
four-color printing process, the basic elements of
它具有非常有意思的不確定性和解釋上的無限可能。
the cross are very simple, and yet once they have been carefully arranged, they are transfor med
1989年開始，丁乙開始利用成品布進行創作，這使其作
into a fundamental shape that possesses a highly
品更具觀念性。本幅作品，就是創作在成品布上的。此
meaningful uncertainty and which offers almost
幅作品以格子成品布為基底，再進行繪畫，隨著筆觸，
unlimited interpretative potential.
又使得豐盛而炙熱的色彩逐漸顯露出來，製造出畫面原 始的肌理走向。多重的線條厚薄、深淺有致，張弛有
From 1989 onwards, Ding Yi began using fabric
度，一橫一豎「十字」間不再只是單純的符號排列，而
in his art, giving it a more conceptual feel. This
是體現了中國書法之美，似乎在預示禪宗中所體現的辨
particular work is an example of Ding Yi’s paintings
證性。與早期同一系列的「十示」作品相比，這一時期
on cloth. Taking a piece of tartan fabric as its base,
的格子形成了一個更加豐富和復雜的藝術體系，體現了
the painting is created on top, with rich, warm
丁乙對格子語彙的掌控和調度能力。
colors starting to take shape as the brushstrokes are applied, creating a textural effect that could be
Ravenel 131
057
XU BING
(Chinese, b. 1955)
Reading Landscape Series 2001 Ink on Nepalese paper 102 x 176.5 cm With one seal of the artist
HK$ 1,300,000 - HK$ 1,700,000 NT$ 5,508,000 - NT$ 7,203,000 US$ 167,700 - US$ 219,400
徐冰 讀風景系列 2001 水墨 尼泊爾紙 102 x 176.5 cm 鈐印右下：XU BING
Ravenel 133
Xu Bing, born in 1955, was sent to Beijing's poor countryside
‘Reading Landscapes' has two dimensions. On the one hand, it is
for resettlement during the peak of "Down to the Countryside
about something that only Chinese artists could play with because
Movement" in the 1970s. He spent a memorable time in Harvesting
it uses a very special quality in Chinese characters - namely, they
Town, Flower Pot Commune, Yanqing County in his youth. The
are pictorial. On the other hand, it goes back to the relationship
difficult life gave him an unique experience: as a "lucky one" whose
between nature and literary symbols. In this way, this kind of work
entire family was still alive, the townspeople often asked him to
can be said to have overcome language barriers. For example, you'd
help with weddings and funerals. These special local experiences
understand that this character refers to ‘tree' when you see that it's
affected his art later on, making his works both mysterious and
a tree-like symbol. You'd understand instantly. " A seemingly simple
attractive.
ink wash painting actually contains layers of rich meaning. To him, the five shades created in a single stroke of ink wash shows the
After overcoming a series of difficulties, Xu Bing was admitted
Chinese's pursuit of depth. On the other hand, western oil painters
to Central Academy of Fine Arts, specializing in printmaking.
strive for a single effect from multiple strokes, which requires various
Throughout his artistic life, printmaking, especially woodcuts,
paint brushes, and trials of texture and stroke. The beauty of oil
has influenced him the most. Xu wrote in "The Path of Repetition
paintings is in the richness layered by a repeated process, while ink
and Imprint ", "My interest in printmaking came from my love
wash painting is more of a natural creation in which the artist and the
for typography. ‘Engraving' is an art of western intellectuals. It
material coordinate with each other and become inseparable.
originated and was developed from the combination of things related to books, such as religion, epic poems, lead types, and
Although he has lived in the west for many years, traditional Chinese
illustrations. It's sort of like how the Chinese Southern School was
culture, especially Southern School artwork and calligraphy, still
born from poems and calligraphy. There's no better match than lead
influences Xu Bing greatly. He said, "Chinese intellectuals have
types and prints on good paper. The beauty from this ‘match' makes
always hoped to combine the literary with the pictorial, which have
so many addicted to books. "
always been completely separate. That's why they keep copying poems about paintings in calligraphy. As for me, making ink wash
From the early "Series of Repetitions" to the incomprehensible
painting itself is writing poetry; the two are already the same. It's
"Book from the Sky," the controversial "Ghosts Pounding the Wall,"
such a simple thing! But we've always restricted ourselves with our
and then to the accessible "Square Word Calligraphy Classroom,"
imprinted ideas of artistic forms and styles. "
"Reading Landscapes," and finally to the series "Book from the Ground," his works reflect his interest of characters, typography,
" R e a d i n g L a n d s c a p e s , " w a s c re a t e d i n 2 0 0 1 , i s t h e a r t i s t ' s
and printing. Although today there are fewer limits on the material
understanding of how the characters, the ink, the picture, and
for printmaking, such that even the latest popular culture can
the viewer may interact. The picture that he "reads" is actually a
be incorporated, the common theme in his prints is still that of
picture of garden rocks with the theme, "hidden mountains." Its
discovering the beauty of types. Xu said that he had a lot of free
composition includes mountains, rocks, trees, and woods. Instead
time to make steel prints and research types during the Cultural
of painting them with ink wash as in a Southern School painting,
Revolution. He also discovered himself by learning about traditional
which would have detailed the textures and showed varied ink
Chinese culture when he practiced writing as a child. Characters are
shades, Xu used calligraphic characters in clerical, semi-cursive, and
masked with layers of meaning, encouraging us to rethink about our
oracle bone scripts. The painting is still pictorial. The viewer can
limited understanding of culture. Xu tried to uncover the cultural
still imagine the overall landscape by following each stroke in the
masks of characters so that words and viewers can communicate
character. For instance, "Rock" written in clerical script carves out
without barrier.
the mountain's ridges in the fore- and mid-grounds and directs us to "Rear Mountain" written in traditional Chinese in the background.
After years of making prints, Xu Bing started working with new
In between the "Rocks" are slices of "Wood," and "Woods" make
media. In the series "Reading Landscapes," he combined ink
up a forest that complement the rocks. There are annotations for
paintings with calligraphy. He said in an interview, "The series
small details - for example, "Here is a road, and there is a town at
the mountains." In traditional works of "hidden mountains," artists
professor would comment, "Xu Bing's sentiments for the countryside
would paint a house, and a quiet scholar either sitting in a house
are a kind of love. I really like it." Actually, this sort of love has
surrounded by the mountains, or walking on a meandering mountain
spanned many years of his artistic life. In the series of "Reading
path. Those extravagant elements are not seen in Xu Bing's works.
Landscapes," one could still see the beauty of elegance, peace,
Instead, we see simple words for "Stone Mural," "Cow Feces,"
and simplicity in works like "Stone Village (1981, 49 x 66 cm) and
"Haystacks," and "Cornfield." Such elements come from the artist's
"Mountain Place" (1985, 41 x 61 cm). The wheat field of "Mountain
sense of humor he cultivated from his early experience in the
Place" actually became the forest of "Reading Landscapes." In this
countryside. The painting itself seems to be part of the Harvesting
way, "Reading Landscapes" also tells his personal history.
Town - it is vivid, interesting, and full of life. No wonder that Xu Bing's 出生於1955年的徐冰，在1970年代文革時期的「上山下鄉」運動的小
石圖，畫面的主要構成部分：山，石，樹，木，這些本應由筆墨幹濕濃
高潮中被分配去北京貧瘠的山區插隊。在延慶縣花盆公社收糧村渡過了
淡或精緻的皴法所呈現的文人畫符號被隸書，行書，甲骨文等字體書
難忘的青春時光。農村艱苦的生活帶給他不一樣生活體驗：作為父母雙
寫的漢字所替代。以字替形並未影響作品的畫面感，跟隨字的軌跡，
全，兄弟姐妹齊全的「全人」，他經常被叫去幫忙紅白喜事。這些獨特
依然可以想見原作的畫面：近景和中景，隸書「石」勾畫出山脈的走
的民俗體驗影響著他日後的創作，他的作品中時常帶著別樣的氣質，讓
向，與遠景繁體書寫的「遠山」遙相輝映。間雜在「石」間的是成片的
人捉摸不透，又不得不被吸引。歷經波折，徐冰考入中央美術學院版畫
「木」，「木」聚成林，相得益彰。畫面中細小的細節被文字說明注釋
系。在多年的創作實踐中，版畫，特別是木刻版畫的形式對他影響深
出來，例如畫面右側上方的說明：這裡有一條路，山那邊有一個村子。
遠。他在自敘文章《複數與印痕之路》中曾說道：『我對版畫的興趣，
傳統的「山隱」的題材中，畫家會在山間點綴一間茅屋，一位恬淡的文
是以對字體的興趣做為銜接的。「創作版畫」是西洋畫種，是西洋知識
人坐在屋中，或行走在崎嶇的山路上。在徐冰的畫中，這些矯飾的元
份子的藝術，西方的文人畫。其起源和生長是與宗教，史詩，鉛字，插
素不見了蹤跡，取而代之的是樸實的「石頭牆」「牛糞」「草垛」「玉
圖，這些與書有關的事情弄在一起發展起來的，類似中國文人畫是與詩
米地」。這些源自藝術家早年生活體驗的元素帶著質樸的幽默感。彷彿
文，書法同生的關係。鉛字與版畫在講究的紙材上，真是人間絕配。這
這裡所描繪的就是收糧村的一角，生動鮮活，充滿生活的美感。難怪徐
「配」出現的美，讓多少人一旦沾染上書，就再也離不開。』
冰的大學老師在講平創作時說：「徐冰對農村的感情就是一種愛情，很 好。」事實上這種愛戀跨越他多年的藝術創作。在「讀風景」的系列裡
對於文字，字體和印刷的興趣貫穿了他的創作。從早年的《複數系列》
依舊可見他在1980年代創作的版畫《石村》（1981，49 x 66 c m），
到無人能懂的《天書》和頗具爭議的《鬼打牆》，再到婦孺皆識的《英
《有山的地方》（1985，41 x 61 c m）等優雅淳樸的寧靜之美。《有山
文方塊字書法》，《讀風景》和《地書》系列。儘管創作語言逐步擺脫
的地方》裡麥田演變成了《讀風景》中的林木。作品默默地講述著他的
了版畫的媒材限制，甚至延伸至當下最新的流行文化。作品中延續不斷
個人歷史。
的脈絡依舊是對文字之美的探索。他說，文革的時候有大量時間刻鋼板 研究印字，而幼時習字使他以中國傳統文化線索發展了自己。這種表裡 不一的、帶著面具的文字刺激我們審視文化概念的局限。他試圖去除文 字上的文化負荷，讓文字與觀眾在對話中回到零度情景。 歷經多年的版畫實踐之後，徐冰開始嘗試新的創作語言。《讀風景》系 列中，他將自己擅長的書法與水墨意趣相結合。在一次訪談中，他這樣 談及：「『讀風景』這一系列作品，一方面講這個東西變得更中國化， 就是只有中國藝術家能玩這個東西，因為它使用了中國文字最特殊的一 種性質。只有中國文字和中國人的思維與圖像之間有這種關係。另一方 面它又回到了自然與文學符號之間關係的原起點上。又使這類作品從某 種意義上講超越了語種的限制。你看到這個符號像樹，你就知道這是樹 字。這時你已經懂了。」看似單一的中國水墨畫，實際蘊含著豐富的層 次。對他來說，水墨一筆，墨分五色的感覺就體現出中國人的境界追 求。而舶來之物的油畫，則是三筆一種感覺，需要許多筆不斷塑造，通 過肌理和筆觸去傳達一種感覺，因而油畫的美感在於不斷塑造的過程所
XU Bing, Landscript , 2004, ink on Nepalese paper, 150 x 300 cm Ravenel Autumn Auction 2010 Taipei, US$ 415,430 sold 徐冰《文字山水》2004 水墨 尼泊爾紙 150 x 300 cm 羅芙奧台北2010秋拍 NT$ 12,600,000 成交
體現出的豐富。中國傳統水墨則是藝術家與材料之間的自然配合而傳達 的出的人畫合一的天然趣味。 雖有過多年的西方生活的經歷，中國傳統文化，尤其是傳統文人畫和書 法對徐冰的影響至深。他說：「中國文人自古就有一個理想，就是希望 把詩書畫放在一起。但自古形式上都是分家的。弄些與畫有關的詩用書 法抄出來。但我在畫的同時就是在寫字，在寫詩，完全是揉在一起的。 多簡單的事情，只是長期以來都被所謂藝術形式風格的討論給制約住 了。」 創作於2001年的作品《讀風景》完美呈現了藝術家對於字與墨，字與 畫，畫與觀賞者的理解。他所「讀」之畫，本是一幅「山隱」題材的山
XU Bing, Landscript , 2007, ink on Nepalese paper, 82 x 300 cm Ravenel Autumn Auction 2011 Hong Kong, US$ 308,087 sold 徐冰《讀風景》2007 水墨 尼泊爾紙 82 x 300 cm 羅芙奧香港2011秋拍 HK$ 2,400,000 成交
Ravenel 135
058
FANG LIJUN
(Chinese, b. 1963)
2001.7.31 2001 Acrylic on canvas 180.5 x 80 cm Signed upper right Fang Lijun in Chinese Signed on the reverse Fang Lijun in Chinese and dated 2001.7.31
HK$ 2,000,000 - HK$ 3,000,000 NT$ 8,475,000 - NT$ 12,712,000 US$ 258,100 - US$ 387,100
方 力鈞 2001.7.31 2001 壓克力 畫布 180.5 x 80 cm 簽名右上：方力鈞 簽名畫背：方力鈞2001.7.31
Ravenel 137
2001.7.31 FANG LIJUN
Fang Lijun is one of the major leaders of the Cynical Realist movement which was born after the traumatic events of 1989. He was born in 1963 in Hebei Province and after the Cultural Revolution he studied the ancient Chinese art of print making at the Central Institute of Fine Arts. While recognized as a master in woodblock printing, he has become a household name for his unrelenting portrayal of the disenchantment and disillusionment of the youth of China post-1989 both in his prints and his paintings. 1 9 8 9 w a s a w a t e r s h e d y e a r i n C h i n a ' s m o d e r n h i s t o r y, a n d particularly for the avant garde art world. With China's opening to the world in the 1970s artists of Fang's generation had their first exposure to Western art. They were initially mesmerized at the possibilities of expression, especially as during the Cultural R e v o l u t i o n t h e y w e re f o rc e d t o p a i n t o n l y S o c i a l i s t R e a l i s t propaganda posters. Coming together primarily in Beijing, there was a great sense of community, idealism and hope in the art world. However, these were shattered by two events. The first exhibition of avant garde art was held at the National Art Museum of China in Beijing in 1989. This was the first official recognition of modern art and the first acceptance for the New Wave artists. The Exhibition was closed down on its first day after one artist fired a gun at her installation. The authorities became reactionary and warned artists that works criticizing the government or society would not be tolerated. The events of Tiananmen Square were to be the final nail in the coffin for the art world. Many artists passionately supported the democratic movement and they along with society were appalled at the events which unfolded. Ten years of unbridled optimism and idealism had come to an end. Fang Lijun along with the rest of the art world retreated into a silence and isolation which was to last two years. Artists were being watched and it was dangerous for them to associate with each other. During the silence, they brooded and contemplated and slowly in the early 1990s new art movements began to emerge. Fang was to be the main protagonist in one of the most important of these movements Cynical Realism, a new, cold, detached and ironical view of society. The bald headed youth of his paintings has become an iconic image of the Chinese contemporary art world, and a symbol of disillusionment, mockery and rebellion, the prevailing moods after the events of 1989. Fang's bald headed youth is invariably depicted in an aggressive way often with a lost or oblivious look on his face. Often there are multiple representations of the youth, as if representing the de-
personified, manipulated masses of the repressed as they suffer in
動，他們以及整個社會，卻為後來所發生的暴力鎮壓驚駭不已。持續了
their angst and disquietude. It seems that Fang, is exploring the
十年的樂觀精神與理想主義就此壽終正寢。
plight of the individual in a meaningless and uncaring system. 方力鈞與同代藝術家隨即選擇孤身隱退，這一隱退便是兩年。當時，藝
Fang's painting is deeply expressive and he conveys his meaning not
術家們被暗中監視，彼此的來往也成了危險的舉動。在這段沉寂的時期
just in his angst ridden youth, but also in his painting style. At first
裡，他們冥思深慮，1990年代初新藝術運動逐漸浮現。在諸多運動中，
glance his works seem to follow the flat style of pop art with strong
以玩世現實主義為首，它以全新、冷酷、漠然且嘲諷的姿態審視社會，
primary colors. But on closer inspection the faces of his youth, are
而方力鈞便是玩世現實主義的領導者。他筆下的光頭青年，成了中國當
depicted with great use of light and shadow heightening and adding
代藝術界的代表形象，象徵89學潮事件後盛行在社會中那股幻滅、輕視
to their disenchantment. Fang, also often depicts the background,
和反叛的主流情緒。
clouds, sky, or sea in a hyper-realistic and detailed way. Clearly the ability to render these details so expertly comes from his mastery of
方力鈞筆下的光頭青年不乏攻擊性，並時常以迷失或是健忘的神態出現
woodblock printing.
在畫中。這些人物總以多重表徵呈現，彷彿是在告知世人，壓抑的大眾 已被焦慮與不安折磨得失去了人性，可隨意操控。如此看來，畫家本人
Our present lot "2001.7.31", is a major Fang Lijun piece. The large
正是在一個毫無意義可言的冷漠社會體系中，探究個人的苦境。
face of the main protagonist dominates the lower center of the picture. The face seems to have a serene and calm expression as
方力鈞的畫風極富表現力，無論是畫中焦慮深重的青年，抑或畫作風格
the light from the sun bathes it in a soft warm glow. However, the
本身，無不透露畫家欲表達的意義。乍看之下，他的作品所遵循的，是
painting in contrast to this serenity is loudly proclaiming turmoil
原色濃重的波普風格。但仔細觀察，會發現畫家正是利用明暗對比，來
and disturbance. The cast of characters in the lower half of the
突出青年們幻滅的神情。方力鈞也
picture is strongly reminiscent of Western scenes of hell where the
常採用超現實及細膩的手法描繪
condemned plead and beg for mercy from a detached and uncaring
背景─浮雲、天空、大海。顯然，
god. But as usual with Fang, it's not clear-cut exactly what the
方力鈞能以高超的技藝詮釋這些細
actions of his characters are. Are they begging for mercy, or are they
節，全得益於深厚的版畫功底。
in fact worshipping? It is this contrast and ambiguity which brings so much appeal to Fang's paintings. The faces look very disturbed and
此次的拍品是方力鈞的名作
anxious, yet they are also bathed in the soft, warm light. The sense
《2001.7.31》。一群光頭嬉皮擁
of turmoil is further added to by the menacing, and threatening
簇在畫布下方，陽光灑下，淡淡地
sky. It seems as if a storm is about to break lose. It's almost as if the
溫暖著那一張張平靜而安詳的臉。
funneling tempestuous cloud will devour the supplicants.
與這種安詳形成對比的，是畫作所 彰顯的躁動與不安，擁擠在畫布下
方力鈞是1989學潮之後玩世現實主義的代表人物之一。1963年出生於河
方的人物，不禁教人想起那些受困
北省，文革結束後就讀於中央美術學院版畫系。方力鈞不僅是中國當代
在地獄的囚犯，正向冷漠的神明哀
藝術界公認的版畫大師，他對於中國後89年輕一代的醒悟與幻滅，以版
求寬恕的場景。但這畫中的人們到
畫和油畫極其真實的描述，使其成了家喻戶曉的藝術家。
底是哀求寬恕，還是正在崇拜神 靈？我們無法道明，這便是方力鈞
1989年可說是中國當代史，特別是先鋒藝術界的一道分水嶺。隨著1970
塑造筆下人物的一貫手法。也正是
年代中國改革開放，方力鈞和他的同代藝術家開始接觸西方藝術。首先
運用了此種對比鮮明卻又模棱兩可
是自我的藝術表達成為可能，這對於在文革時期，無奈被迫創作宣揚社
的手法─不安而焦慮的臉；沐浴在
會主義寫實宣傳畫的藝術家們而言，是個極富吸引力的轉變。北京作為
暖和柔光裡的臉，讓方力鈞的作品
最初的藝術聚集地，凝聚了藝術世界的理想主義與希望。但此種凝聚力
深受喜愛。預示著暴風雨即將來臨
被接下來發生的兩件事擊得粉碎。第一屆先鋒藝術展於1989年在北京中
的天空下更增添畫面的躁動感，盤
國美術館舉行，當代藝術及新浪潮藝術家首次被接受和認可。但藝展僅
繞的雲層彷彿隨時隨地會吞噬下方
開幕一天，就在一位女畫家朝自己的裝置作品開槍後落幕。當局者的態
的乞求者。
度開始轉向保守，並向藝術家發出了將嚴懲反動作品的警告。天安門事 件是對藝術界最後的致命一擊。不少熱血藝術家都竭力支持這場民主運
FANG Lijun, 2000.12.4 , 2000 acrylic on canvas, 180 x 80 cm Ravenel Autumn Auction 2011 Hong Kong, US$ 400,513 sold 方力鈞《2000.12.4》2000 壓克力 畫布 180 x 80 cm 羅芙奧香港2011秋拍 HK$ 3,120,000 成交
Ravenel 139
059
YAN PEI MING
(Chinese, b. 1960)
Portrait 1989 Oil on canvas 178 x 152 cm Signed on the reverse Yan Pei-Ming , inscribed à Dijon and dated MARS. 89
HK$ 1,100,000 - HK$ 1,600,000 NT$ 4,661,000 - NT$ 6,780,000 US$ 141,900 - US$ 206,500
嚴 培明 頭像 1989 油彩 畫布 178 x 152 cm 簽名畫背：Yan Pei-Ming MARS. 89 à Dijon
YAN Pei Ming, The Little Shanghai Girl , 2004, oil on canvas 250 x 220 cm, Ravenel Spring Auction 2010 Taipei US$ 316,518 sold 嚴培明《上海女孩》2004 油彩 畫布 250 x 220 cm 羅芙奧台北2010秋拍 NT$ 9,600,000 成交
Ravenel 141
THE MONUMENTAL BLACK AND WHITE PORTRAIT OF HUMANITY
Yan, whose work is based on a question of passage and
pertinent in extenuating the lively effect of his brushstrokes
identity, painted the first of his black and white portrait
in forming the face as the heightened chiaroscuro conveys
in 1988. The present lot epitomizes Yan's monumental
an impression of intense drama and visual power. As Yan
bodiless face rendered with fast and sweeping ardent
posits, "I've always been very comfortable using black and
brushstrokes of broad gesture. He utilizes the anonymous
white. For me it's a very sufficient palette to express what
face to augment the pictorial quality of the painting.
I want to say. And for me it's become a very direct way of
According to the artist, the innermost emotions of one's
painting, using black and white." The present lot conjures
joy, grief, anger and happiness are discernible from the
up imageries of Chuck Close's black and white portraits
expressions on one's face, it is thus the frontal face that can
and a certain form of Expressionism in de Kooning's work,
best represent humanity. In essence, "what goes into the
while at the same time exhibit a certain energy towards the
making of the whole exhibits element of Expressionism and
canvas present in Georges Matthieu's artistic approach.
partly heading towards procedures of repetition that are
The referential brushstroke in Yan's painting thus contrasts
all that Expressionism is not." Hence, "Portrait" is alleviate
greatly with the orthodoxy of contemporary art as Yan
from burden of the distraction from resemblance arising
paints, erases, covers and reveals the face of his subject
from the identity of the subject on his canvas, which go
matter that becomes illuminated as the viewer steps
far beyond a mere superficial resemblance of the features.
further back away from the canvas, thereby adding to the
The resulting composition enable the pictorial quality of
enigma of these bodiless face which forces one to explore
the face to fully unfold. The face in the "Portrait" becomes
the possibilities of the painter's intentions. In retrospect,
clearer as the view moves away from the canvas, the
Yan had been chosen by curators as different as Jean Clair
pictorial effect in Yan's painting are thus both drawn and
for the 1995 Venice Biennale and Harald Szeemann for
blurred simultaneously, these qualities resonates with the
the Lyon Biennale in 1997. In 2009, Yan became the first
notion that Yan's approach is both intuitive and cultivated.
living contemporary artist to have his solo exhibition "The
The relative anonymity of the "Portrait" focuses less on
Funeral of Mona Lisa" shown at the Louvre.
the subjects resemblance but rather to addresses the humanistic qualities such as the nature of existence and the respective spiritual worlds of his subject. It is apparent that the occidentalism influence is present in Yan's artistic approach, it nevertheless exhibits qualities of the orientalist as well. In particular, the utilization of the black and white color scheme uphold the expressive desire of the imagination in the Orient. This perhaps is a derivative from his early experiences in Shanghai as a gifted adolescent commissioned to produce propaganda f re s c o e s o f c u l t u r a l re v o l u t i o n a n d h i s s u b s e q u e n t relocation to Paris and teaching position at the Fine Art School of Dijon. Yan utilizes the two colors black and white to avoid detracting from the simplicity of his portraits. As he painted rapidly and with exquisite energy. the slurring of the two colors results in a mono-chromatic scheme of subtle gradations of tones and colors, which remains
Francis BACON, Head III, 1949, oil on canvas 法蘭西斯．培根《頭像III》
象外之悟 黑與白的時代肖像 「我關注人性。我的作品可以看做是描繪普世 的肖像畫。我畫作的深層意義，向來都是如此 的人性。」 – 嚴培明
嚴培明的作品以探討時境流轉及身分為基礎，他於1988 年發表首幅黑白肖像畫。此拍品的巨幅臉部畫像中，仿如 可見嚴培明恣意揮毫、迅捷灑脫的作畫身手。他用無名的 臉孔烘托出畫作的圖像效果。嚴表示，面部表情流露出內 心深層的喜、愾、慟、悰，故為體現人性之最佳媒介。 「除掌握表現主義的重要元素外，亦朝與之截然不同的層 疊手法發展」，秉持此精神，《頭像》擺脫束縛，不著重 描繪對象具體特徵的形似，而是在構圖中將臉部神韻展 露無遺。觀畫人與《頭像》拉開距離時，畫中面孔愈顯清 晰；由此可見，畫作同時呈現清晰與模糊的效果，呼應嚴 培明兼具直覺本能及精煉而純熟的手法。《頭像》的無名 臉孔並非著重於描繪對象的外貌，而是呈現人性特質，如 生存本質以及創作對象的獨特心靈。 嚴培明的創作手法展現清晰的西洋特質，然東方特質也蘊 藏其中，而黑白雙色即為東方用以表現想像力的色調。兼 化中西的手法可能汲取自早期的繪畫經驗：年少即於上海 一地頭角崢嶸，受任繪製文化大革命的宣傳濕壁畫；其後 移居巴黎，並於第戎國立美術學院擔任教職。嚴培明運用 黑白兩色，維持肖像畫的單純特質。在他揮毫奮作下，兩 色交疊出單一色階，顯現微妙的漸層色調，描繪臉部之筆 觸傳達出鮮活生動的效果，而明暗對比手法運用，烘托出 張馳有度的力道與視覺震撼。如嚴培明所述：「我一向對 於使用黑白感到很自在。對於我來說，這樣就可以表達我 的想法了，而且用黑白創作也很直截了當。」本拍品帶 有克洛斯（Chuck Close）黑白畫作的意象，以及德庫寧 （d e K o o n i n g）作品中的某些表現主義色彩，同時也呈 現馬修（Georges Matthieu）於畫布揮灑的藝術風采。嚴 培明此種繪製法與現代循規蹈矩的藝術方法大相逕庭，他 描繪、抹除、掩蓋、顯露題材，讓臉孔隨著觀畫者遠離畫
" I ' M I N T E R E S T E D I N H U M A N I T Y. M Y
布而變得清晰，加深面部畫像的玄奧，引人探索原作者的
WORK CAN BE CONSIDERED AS KIND OF
種種創作意圖。回顧歷年展覽，嚴的作品曾獲多位策展人 評選入展：1995年入選克萊爾（Jean Clair）策辦的「威
A U N I V E R S A L P O R T R A I T. W H AT I PA I N T
尼斯雙年展」，1997年入選史澤曼（Harald Szeemann）
ALWAYS IS, DEEP INSIDE, AN IDEA OF THIS
策辦的「里昂雙年展」。2009年，嚴培明在羅浮宮舉辦
HUMANITY."
個展「蒙娜麗莎的葬禮」。
– YAN PEI MING
Ravenel 143
060
XIONG YU
(Chinese, b. 1975)
Falling Leaves (diptych) 2003 Oil on canvas 198 x 148 cm Signed lower right Xiong Yu in Chinese and dated 2003 Signed on the reverse Xiong Yu , titled Falling Leaves both in Chinese and dated 2003 (each) PROVENANCE: China Blue Gallery, Beijing Acquired from the above by the present owner
HK$ 120,000 - HK$ 200,000 NT$ 508,000 - NT$ 847,000 US$ 15,500 - US$ 25,800
熊宇 漂浮的落葉（雙聯幅） 2003 油彩 畫布 198 x 148 cm 簽名右下：熊宇2003 簽名畫背：《漂浮的落葉》熊宇2003年 來源： 北京環碧堂畫廊 現有藏家購自上述來源
Ravenel 145
061
LI JIKAI
(Chinese, b. 1975)
Small Portrait 2008 Oil on canvas 50 x 70 cm Signed lower right Li Jikai in English, Li in Chinese and dated 2008 Signed on the reverse Li Jikai , titled Small Portrait both in Chinese, inscribed 50 x 70 cm , and dated 2008
HK$ 50,000 - HK$ 80,000 NT$ 212,000 - NT$ 339,000 US$ 6,500 - US$ 10,300
李繼開 小肖像 2008 油彩 畫布 50 x 70 cm 簽名右下：Li Jikai 李 2008 簽名畫背：小肖像 50 x 70 cm 李繼開 2008
062
ZHAO GANG
(Chinese, b. 1961)
George C Marshall 1946 in Yenan with Mao's Fourth Wife Jiang Qing in the Red Base 2005 Oil on canvas 127 x 96.5 cm Signed on the reverse Gang Zhao and dated 05 PROVENANCE : Private collection, USA
趙剛 1946年喬治馬歇爾與毛澤東四夫人江青在延安 2005 油彩 畫布 127 x 96.5 cm 簽名畫背：Gang Zhao 05
HK$ 55,000 - HK$ 85,000 NT$ 233,000 - NT$ 360,000 US$ 7,100 - US$ 11,000
來源： 私人收藏，美國
Ravenel 147
063
QIU ZHIJIE
(Chinese, b. 1969)
Tattoo Series No. 5 2000 Chromogenic print, edition no. 2/10 100 x 80 cm
邱志傑
Signed on the reverse Qiu Zhijie in Chinese and English, titled TATTOO 5 , inscribed 2/10 and dated 2000
2000 數位影像輸出 2/10 100 x 80 cm
PROVENANCE : Private collection, USA
簽名畫背：2/10 TATTOO 5 Qiu Zhijie 邱志杰 2000
HK$ 20,000 - HK$ 30,000 NT$ 85,000 - NT$ 127,000 US$ 2,600 - US$ 3,900
紋身系列五號
來源： 私人收藏，美國
064
SHENG QI
(Chinese, b. 1965)
Pope Paul II 2003 Acrylic on canvas 110 x 160 cm
盛奇 羅馬教皇保羅二世
Signed on the reverse Sheng Qi and inscribed Beijing in both English and Chinese, dated 08-2003
2003 壓克力 畫布 110 x 160 cm
PROVENANCE: Red Gate Gallery, Beijing
簽名畫背：盛奇 Sheng Qi 北京 Beijing 08-2003
This painting is to be sold with a certificate of authenticity issued by Red Gate Gallery, Beijing and signed by the artist.
來源： 紅門畫廊，北京 附紅門畫廊開立藝術家親筆簽名之原作保證書
HK$ 70,000 - HK$ 110,000 NT$ 297,000 - NT$ 466,000 US$ 9,000 - US$ 14,200
Ravenel 149
065
LAMPO LEONG
(Liang Lanbo, Chinese-American, b.1961)
Emanation VIII 2014 Ink on paper 150.5 x 83 cm Signed lower right Lampo Leong Signed lower left Lampo in Chinese With two seals of the artist PROVENANCE: Private collection, Asia
HK$ 34,000 - HK$ 55,000 NT$ 144,000 - NT$ 233,000 US$ 4,400 - US$ 7,100
梁藍波 噴薄 VIII 2014 水墨 紙本 150.5 x 83 cm 簽名右下：Lampo Leong 簽名左下：藍波 鈐印右下：梁 鈐印左下：藍波 來源： 私人收藏，亞洲
Lampo Leong's ink painting incorporates Western geometric structure
Central Academy of Fine Arts, MFA, California College of the Arts, is
with the sensibilities of classical ink tradition from the East. It takes
an internationally acclaimed artist and currently a Professor of Art at
advantage of the innate sense of liveliness in brush marks with
the University of Missouri-Columbia. In 1999, the San Francisco Mayor
accumulated layers of ink washes to attain an ethereal atmospheric
proclaimed November 19th to be Lampo Leong Day.
quality and the dynamic forces of life energy. With water and ink constantly colliding and intertwining, an array of ink splashes moves
梁藍波的現代水墨作品結合了西方現代藝術的構成，又不失為傳統水墨韻
in a radiating motion to form a central structure that works both like
味的延展。通過水和墨的不斷碰撞與交織，這些充滿爆發力和動勢的水墨
a planet suspended in a mysterious cosmic space, and as a surge of
肌理表現出豐厚強盛的生命張力、營造出氤氳渾沌的宇宙氛圍。畫面的中
light or energy spurting out from within. These familiar yet abstract
心結構既似翱翔於太空的星球，又如同噴薄而出的光能，這些似曾相識的
images make us aware of the miraculous vitality in nature as well
神秘畫面讓觀者感受到宇宙生命的躁動和大自然的巨大能量，展現出老莊
as the enigmatic process of creation in the universe. Reflecting a
哲學雄渾博大、磅礡昂揚的精神氣概，以及剛柔相濟、主客交融的浩瀚境
reverence for both the spirit of Daoism and the Sublime, as well as an
界。梁藍波獲美國加州美術學院繪畫碩士學位，並在中央美術學院獲書畫
ever-renewed wonder at a universe revealed to us through modern
比較研究博士學位，現任美國哥倫比亞密蘇里大學終身教授、研究生導
science, Leong's painting celebrates the dynamic energies that give
師，密蘇里科技大學講座教授和廣州美術學院客座教授。1999年美國舊金
birth to new life, new planets, and new stars. Lampo Leong, PhD,
山市政府將11月19日定為「梁藍波日」。
066
ZHANG YU
(Chinese, b. 1959)
Fingerprints 2005 Ink and color on paper 97 x 83 cm Signed lower left Zhang Yu and dated 2005.7 PROVENANCE: Acquired directly from the artist by the present owner
HK$ 70,000 - HK$ 110,000 NT$ 297,000 - NT$ 466,000 US$ 9,000 - US$ 14,200
張羽 指印 2005 彩墨 紙本 97 x 83 cm 簽名左下：Zhang Yu 2005.7 來源： 現收藏者直接得自藝術家本人
Ravenel 151
Lot 067
067
JI GUANGJI
(Chinese, b. 1969)
068
JI GUANGJI
(Chinese, b. 1969)
Fish and Lotus
Ink Lotus
2015 Ink and color on paper
2014 Ink on paper
58.5 x 95 cm
95.5 x 58.5 cm
Signed lower right Guangji in Chinese and dated 2015.07 With one seal of the artist
Signed lower left Guangji in Chinese and dated 2014.09
HK$ 130,000 - HK$ 200,000 NT$ 551,000 - NT$ 847,000 US$ 16,800 - US$ 25,800
HK$ 130,000 - HK$ 200,000 NT$ 551,000 - NT$ 847,000 US$ 16,800 - US$ 25,800
紀 光吉
紀光吉
魚荷
墨荷
2015 彩墨 紙本 58.5 x 95 cm
2014 水墨 紙本 95.5 x 58.5 cm
簽名右下：2015.07. 光吉 鈐印右下：紀
簽名左下：2014.09 光吉
Lot 068
Ravenel 153
069
NIKI DE SAINT PHALLE (French, 1930-2002)
The Couple 2001 Hand painted resin and ceramic, edition no. 104/150 16.5 (L) x 18 (W) x 31 (H) cm Signed on the bottom Niki de Saint Phalle , numbered 104/150, inscribed GERARD HALLIGON and dated 2001 This sculpture is published by Gérard Halligon, Paris.
HK$ 100,000 - HK$ 150,000 NT$ 424,000 - NT$ 636,000 US$ 12,900 - US$ 19,400
妮基．德．聖法爾 伴侶 2001 手繪油彩 樹脂 陶瓷 104/150 16.5（長）x 18（寬）x 31（高）cm 簽名底部： Niki de Saint Phalle 104/150 GERARD HALLIGON 2001 《伴侶》由巴黎傑哈•阿利剛工作室發行
Ravenel 155
UNTITLED CORNEILLE
Paul Klee once said, "Art does not reproduce what we see; rather,
it makes us see. " This is one of the key principles followed by CoBrA, an art movement established in 1948. The most prominent characteristics underlying most CoBrA's works are the bright colors, the sense of freedom, the constantly changing symbols, and the rich meaning in each figure. Childlike silhouettes and pure, cartoonish animal figures are frequently seen in their paintings, and often, they resemble nothing named. Dutch painter Corneille is a founder of CoBrA and one of the most active Expressionist CoBrA painters. He is famous for the vivid colors and a hint of abstraction in his paintings. The inspiration for his bold style comes from the great artists Miró and Klee, as well as children's paintings, folk art, and primitive art; he had progressed beyond the traditional academic art. When the CoBrA movement disbanded in 1951, Corneille moved to Paris, and afterwards started to leave more space for imagination in his compositions. For example, take the exotic landscape paintings from a birds eye view: a myriad of colours, powerful strokes, and childlike figures together create an interesting work that catches one's eye. This painting, "Untitled", has all the familiar elements in Corneille's works: a bird, a cat, women, and landscapes. An air of mystery fills the picture, and yet is expressed in a childish manner. The entire composition is interesting, full of life, and free-spirited, presenting an easy and pure world. 保羅．克利（P a u l K l e e）曾說：「藝術不是再現看得見的東西，而是 使東西看得見」。這是1948年成立的眼鏡蛇畫派CoBrA重要思想依據之 一；眼鏡蛇畫家們最具衝擊力的共通性格是：亮麗的色彩、自由、多變 化的記號及形象中豐富的內涵。他們的畫裡常出現兒童式或卡通式純真 的動物變形，而這些生物常是無以名之的。 荷蘭畫家柯奈爾是眼鏡蛇畫派的發起人之一，也是該組織中最有活力的 表現主義畫家之一。他以用色鮮豔、手法抽象著稱，具有強烈個人的繪 畫風格，其靈感取材於藝術大師米羅、克利、兒童繪畫、民間藝術及原 始藝術，而將傳統學院派拋諸腦後。在眼鏡蛇畫派於1951年瓦解後，柯 奈爾移居巴黎，畫面更具想像空間，如鳥瞰角度的風景畫及富有異國情 調的畫法：繽紛自由的色彩，浩蕩的筆法和稚氣的塑像，形成引人注目 的有趣作品。此幅《無題》正具備柯奈爾最為人熟知的構圖元素 – 鳥、 貓、女人、風景，神秘的氣息卻以童稚的手法呈現，畫面有趣活潑、不 受約束，造就一個怡然與天真的世界。
070
CORNEILLE
(Guillaume Cornelis van Beverloo, Dutch, 1922-2010)
Untitled 1989 Oil on canvas 100 x 100 cm Signed upper right Corneille and dated '89 This painting is to be sold with two certificates of authenticity, one signed by the artist and the other issued by Dimensions Art Center, Taipei.
HK$ 500,000 - HK$ 800,000 NT$ 2,119,000 - NT$ 3,390,000 US$ 64,500 - US$ 103,200
柯奈爾 無題 1989 油彩 畫布 100 x 100 cm 簽名右上：Corneille '89 附藝術家親筆簽名及帝門藝術中心開立 之原作保證書
Ravenel 157
071
VICTOR VASARELY
(Hungarian-French, 1906-1997)
Tenger 1958-1988 Oil on canvas 90 x 62 cm Signed on the bottom Vasarely Signed on the reverse Vasarely , titiled Tenge r, inscribed 90 x 62 and dated 1958 (1988) EXHIBITED: Taiwan's Treasures: Western Art from Private Collections, Taipei Fine Arts Museum, Taipei, October 6 - December 2, 2001 ILLUSTRATED: Taiwan's Treasures: Western Art from Private Collections , Taipei Fine Arts Museum, Taipei, 2001, color illustrated, p. 108
維多．瓦薩雷利 藍色迴旋曲 1958-1988 油彩 畫布 90 x 62 cm 簽名下方：Vasarely 簽名畫背：Vasarely "TENGER" 90 x 62 1958 (1988) 展覽： 「台灣珍藏 – 二十世紀西洋名作選」，台北市立美術館， 台北，展期自2001年10月6日至12月2日 圖錄： 《台灣珍藏 – 二十世紀西洋名作選》，台北市立美術館， 台北，2001，彩色圖版，頁108
HK$ 800,000 - HK$ 1,200,000 NT$ 3,390,000 - NT$ 5,085,000 US$ 103,200 - US$ 154,800
VICTOR VASARELY, THE "FATHER" OF THE OP ART MOVEMENT THE TERM "OP ART" (OPTICAL ART) DERIVES FROM THE EXHIBITION "THE RESPONSIVE EYE" THAT WAS HELD AT THE MUSEUM OF MODERN ART IN NEW YORK IN 1965, WHICH WAS THE FIRST LARGE-SCALE EXHIBITION TO PRESENT TO THE PUBLIC THIS NEW FORM OF ART, FEATURING PRECISE COMPOSITIONS BASED ON THE USE OF SCIENTIFIC METHODS TO ANALYZE COLOR, AND ON COMPLEX NUMERICAL CALCULATIONS; WORKS WHICH, WHEN VIEWED BY THE NAKED EYE, OFTEN CREATE OPTICAL ILLUSIONS OR A SENSE OF MOVEMENT. FOLLOWING THIS EXHIBITION, VICTOR VASARELY CAME TO BE UNIVERSALLY ACCLAIMED AS THE "FATHER OF OP ART."
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Inspiration taken from the curious drawings of the cracked white tile walls of the Denfert-Rochereau metro station in Paris, and from the changes in the play of light and shadow on the walled town of Gordes, gradually led Vasarely’s art in the direction of a more abstract, more geometrical world. In Vasarely’s "Black and White Period" (1950-1965), he adopted revolutionary new techniques that laid the foundations for the subsequent development of the Kinetic Art and Op Art movements. The intermeshing of black and white in Vasarely’s works from this period created an undulating effect; twodimensional images were no longer static, and could create optical illusions, taking art, science and visual experience into a whole new world. And all of this was taking place at a time when computers 瓦薩雷利基金會設立在法國南部艾斯克．普羅旺斯的查德布凡，是他景仰的塞尚長 年居住與創作之地，兩代前瞻性大師的藝術榮光相互輝映。 The decision to locate the Foundation Vasarely near Jas de Bouffan (which was for many years the home of Paul Cézanne, who Vasarely greatly admired) just outside Aix-en-Provence meant that the artistic glory of two generations of ground-breaking, innovative artists could reflect back on each other.
were still only in the early stages of their development! Vasarely received numerous awards, including the Brussels Art Critics Prize, a Gold Medal at the Milan Triennial, and the Guggenheim Prize. His international reputation reached its apogee following the holding of the "The Responsive Eye" exhibition at
Vasarely had in fact begun to create the beginnings of this movement, one of the most influential art movements of the 20th century, around 30 years previously. Born in Hungary in 1906, Victor Vasarely enrolled in the department of medicine at Eötvös Loránd University in Budapest in 1925. Two years later, he decided to heed his calling to make art his career, and began academic art training.
the Museum of Modern Art in New York in 1965. In 1970, Vasarely was made a Chevalier of the Légion d’honneur by the French government. Many exhibitions of his work were held, and his pieces were avidly collected by major art museums all over the world. Today, the influence of Op Art can still be seen in advertising, architecture, design, fashion, and digital images.
Vasarely’s medical training had instilled in him a markedly scientific approach, a commitment to objectivity, and an unslakeable thirst for
Meaning "the vast sea" in Hungarian, the language of his
knowledge. In 1929, Vasarely enrolled in the Mühely, an art school
homeland, "Tenger" is regarded as a representative work of
known as "Budapest’s Bauhaus," where he was exposed to the
Vasarely’s "Belle-Isle Period". With azure as the background, the
work and theories of Malevitch and Kandinsky. He moved to Paris in
artist put black, white and gray ovals on his canvas, where they
1930.
appear like pebbles washing back and forth toward the shore by the sea water, or a vortex rotating lightly between the waves. A simple
"Zebra," a monochrome painting that Vasarely created in 1938 (when he was 32), is generally considered to be the first Op Art work ever produced. The image is created from a pattern of rippling
composition of color and shapes is enough to express the rhythm and imagery of nature. Vasarely once again amazes his viewers with his precise grasp of all things in sight!
stripes, with no outline. With its perfectly juxtaposed contrast, the painting shows how simple lines can give two-dimensional space a sense of movement and dynamism. From 1947 onwards, Vasarely spent his summers on the island of Belle-Isle in Brittany and in the small town of Gordes in the south of France. He would walk by the sea, enjoying the beautiful views and bright sunlight. "Belle-Isle, summer 1947. The pebbles, the
seashells on the beach, the whirlpools, the hovering mist, the sunshine, the sky… in the rocks, in the pieces of broken bottles, polished by the rhythmic coming and going of the waves, I am certain to recognize the internal geometry of nature…" The "BelleIsle Period" extending from 1947 to 1958 was a watershed in Vasarely’s artistic development. This was the period that marked his embarkment on abstract painting, with the utilization of simple geometric forms to represent the natural world, particularly ovals, which Vasarely used to symbolize "the oceanic sentiment".
以著名的《斑馬》系列作品製成的織毯。 A woven carpet based on Vasarely's famous work "Zebra."
歐普藝術之父維多．瓦薩雷利
歐普藝術一詞來自1965年紐約現代美術館歷史性的展覽：「易感之 眼」，瓦薩雷利向大眾呈現此一基於科學方法分析色彩並運用數學計 算的精準構圖，使作品在肉眼欣賞下產生錯視與動態的最新藝術型 態。即被公認為「歐普藝術之父」。 早於展覽三十年前，瓦薩雷利已開始塑造這個在二十世紀具有超乎想 像影響力的藝術運動。1906年生於匈牙利，1925年入布達佩斯大學醫 學系，兩年後決定追隨藝術天職的召喚，接受學院繪畫訓練。在醫學 系期間養成強烈的科學方法論、客觀性以及對知識的求知若渴。1929 年進入有布達佩斯包浩斯之稱的慕希利藝術學院，接觸馬勒維奇與康 定斯基的作品及理論。1930年赴巴黎定居。 1938年，32歲的瓦薩雷利以黑白兩色創作的《斑馬》被定位為歐普藝 術的第一幅作品；漩渦狀條紋構成的主題，沒有輪廓線勾勒，並置的 對比，表現出簡單的線條便能使二維空間湧現動感。 1947年起他在布列塔尼的貝勒島以及法國南部小鎮高爾德度過夏天， 沿著美麗的海岸線漫步，閃爍的光線映照，「貝勒島，1947年夏天。 沙灘上的卵石、貝殼、海中的漩渦、飄散的水霧、陽光、天空…岩石 和碎裂的瓶子，被潮來潮往的韻律磨亮，我領悟了大自然內蘊的真 實幾何…」。1947-1958年的「貝勒島時期」是瓦薩雷利創作的分水 嶺，他標示性的風格從此確立，以簡化的幾何圖形再現自然世界，尤 其對橢圓形的運用，賦予其象徵「海洋」的感受。 巴黎丹佛后胥侯（Denfert-Rochereau）地鐵站牆上的磁磚裂紋，以 及高爾德堡壘城鎮中光影交疊的變化，都引發瓦薩雷利的創作逐漸深 入更加抽象更為幾何的世界。1950-1965年的「黑白時期」，革命性 的創作手法為日後美術史上的機動藝術與歐普藝術奠定根基；黑白兩 色的網格交錯，形塑出起伏波動，平面的圖形再也不是靜止的，造成 視覺的幻象，開創藝術、科學與視網膜經驗至另一境界，而這一切皆 發生在電腦科技尚未蓬勃發展之前！ 瓦薩雷利陸續獲頒布魯塞爾藝評大獎、米蘭三年展金獎與古根漢國際 藝術獎…等，而他的國際名聲在1965年紐約現代美術館「易感之眼」 展覽後更達到巔峰，並於1970年獲頒法國榮譽騎士勳章，展出不斷， 作品收藏於各國重要美術館。而只須稍加留心即會發現，歐普藝術在 今日仍廣泛地在廣告、建築、設計、時尚以及數位影像等領域產生影 響。 本件拍品《藍色迴旋曲》即為「貝勒島時期」風格的代表作；原文題 名《Tenger》來自其故鄉匈牙利文「遼闊的大海」之意。以蔚藍色為 底，黑、白、灰三色的橢圓造型，深淺舞動有如被海水湧上岸的石頭 滾滾，亦如浪潮中輕靈流轉的漩渦，精簡的色、形即能完全融括大自 然的韻律、意象，瓦薩雷利對萬物以及人類視覺的精確掌握，再度令 人驚嘆！
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072
YAYOI KUSAMA
(Japanese, b. 1929)
Bird 1989 Acrylic on canvas 38 x 45.5 cm Signed on the reverse Yayoi Kusama , titled Bird in Japanese, and dated 1989 This painting is to be sold with a registration card issued by the Yayoi Kusama Studio (No. 0868).
HK$ 900,000 - 1, 400, 000 NT$ 3,814,000 - NT$ 5,932,000 US$ 116,100 - US$ 180,600
草 間彌生 鳥 1989 壓克力 畫布 38 x 45.5 cm 簽名畫背：鳥 1989 Yayoi Kusama 附草間彌生工作室開立之作品登錄卡（編號0868）
Yayoi KUSAMA, Field End , 1989, acrylic on canvas, 38 x 45.5 cm Ravenel Spring Auction 2015 Taipei, US$ 318,963 sold 草間彌生《野末》1989 壓克力 畫布 38 x 45.5 cm 羅芙奧台北2015春拍 NT$ 9,840,000 成交
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Born in a rural area near Matsumoto, Japan in 1929, Yayoi Kusama suffered from hallucinations as a child; every day was a neverending struggle with misery and fear. Through constant painting, Kusama was able to find a release for the unease that plagued her; art provided a means of coping with her mental illness, and gave her a reason to go on living. In 1957, Kusama traveled to New York (which at that time was home to the most exciting, but also the most competitive, art scene in the world), where she became a leading member of the avant garde. In 1973, Kusama suddenly abandoned the bright lights of New York to return to Japan, where she voluntarily had herself admitted to a Tokyo mental hospital so that she could concentrate on her artistic creation. "Bird," which was painted in 1989, is a mature work from the period after Kusama returned to Japan. In the forms of paintings, sculptures and action art, Kusama peers into surreal "psychology" and expresses the universe of her mind. Her highly contrastive color schemes returns traces of visual art, music and fashion during the psychedelic period. Her significance is perhaps attributable to her "icon" status, and her explicit yet soulful manifestation. Plagued from a young age by visual and aural hallucinations, Kusama faces her mental illness candidly in "Bird." The flamboyant, playful colors of the piece juxtapose sharply with the jarring effect of the fractured lines which recall the Infinity Nets of Kusama's early series. Creating a mosaic effect, the two dimensional shapes of each individual fruit take shape in cracked, contrasting simplicity. Complementing the two-dimensional flatness of the nets, Kusama adds dimension and variance by echoing the roundness of some fruits with her iconic polka dots. "Bird" provides the viewer with a glimpse into the fractured yet ultimately connected visualizations of Yayoi Kusama as the artist reconciles her mental obstacles through her creation of art. "Artists," states Yayoi Kusama, "do not usually express their own psychological complexes directly. But I use my complexes and fears as subjects." 1929年出生於日本松本市鄉間的草間彌生，童年時期即飽受種種幻聽、 幻覺的侵擾，每一天都在與痛苦、不安與恐怖戰鬥，她藉由不斷地繪畫 排解心中難以言喻的不安，支持自己在從病症裡掙脫，藝術創作，遂成 為支持她存活下去的手段。1957年，草間彌生隻身赴美，在藝文薈萃同 時也是競爭最為激列殘酷的紐約嶄露頭角，成為當時紐約前衛藝壇的先 峰人物。而在1973年，她毅然決然地離開紐約回到日本，告別了鎂光燈 的追逐，在東京的精神療養院裡專心創作。繪於1989年的《鳥》即為草 間彌生回到日本定居之後的成熟之作。 草間用繪畫、雕塑、行動藝術等手法，帶有超現實般心理性的考究，表 達她腦海中的宇宙，高彩度對比的用色，令人回到「迷幻年代」，在視 覺藝術、音樂、時尚留下的印記，她的藝術精彩的緣因之一，亦在於她 本人即是一種「偶像」，不遮掩地表露靈魂。作品《鳥》正充分反映了 草間自小面對的視聽幻覺與精神病困擾。佈滿鳥身的鮮豔原點與深沉的 底色形成了強烈的對比，令人聯想到草間的「無限的點」系列。隱約重 申了藝術家本人揮之不去的幻覺，柔美的情節構圖帶出潛意識中的不安 定成份，讓畫面充滿馬賽克的效果。《鳥》雖然有解構重組的感覺，但 色彩的起伏與圓點的整合又使畫面和諧悅目，顯現藝術家透過藝術創作 自我療癒的過程。
Ravenel 165
073
ANSELM KIEFER
(German, b. 1945)
Ave Maria, Mater Castissima 2007 Oil, acrylic, shellac, iron, roses, lead, clay and cardboard on plywood under glass 215 x 141 cm Titled in the center Ave Maria, Mater Castissima
HK$ 2,800,000 - HK$ 4,200,000 NT$ 11,864,000 - NT$ 17,797,000 US$ 361,300 - US$ 541,900
安 森．基弗 聖母頌•至貞之母 2007 油彩 壓克力 蟲膠 鐵 玫瑰 鉛 陶土 紙版 膠合板 玻璃罩 215 x 141 cm 題識中間：Ave Maria, Mater Castissima
Ravenel 167
AVE MARIA, MATER CASTISSIMA ANSELM KIEFER
Anselm KIEFER, Let a Thousand Flowers Bloom (Yangtze) , 1998-2000, oil on canvas, 190 x 480 cm 安森•基弗《百花齊放(長江)》1998-2000 油彩 畫布 190 x 480 cm
There is no question that the painter Anselm Kiefer made
expanding beyond the German themes, Kiefer started to
great contributions to world culture at the end of the
paint about fate and culture in general. Not only were his
20th century. He was one of the most prominent painters
works a collection of nationalist symbols and memories,
of "New Expressionism" in the 1980s. Kiefer was born
they also held mysterious meanings from symbolism,
in Donaueschingen in then - West Germany in 1945 - a
theology, and mysticism. Generally speaking, Kiefer still
year otherwise known as "German Zero Hour." The term
took his inspiration from his experience in, and memories
refers to the rebirth of Germany after their defeat in the
of, society in its entirety - that is, from the wounds from
war, when all things of the past no longer existed and the
the countless deaths, regenerations, and rebirths that
future was yet unknown - when all had to start from zero.
he encountered. Centered on the overwhelming guilt
After the Second World War, the entire German nation had
of the nation, his paintings capture accurately Germans'
to shoulder an unbearable burden. The new generation
despondency and reflections after the defeat in the war.
born after 1945, in particular, did not know how to bear responsibility for the remnants of something they did not
Kiefer once made the now frequently quoted statement,
cause but that they knew would haunt them nonetheless.
"My biography is Germany's biography." His works are
Kiefer is a member of this generation. Having grown up in
literary, like epic poems. Standing in front of his paintings,
the ruins and shadows of the Third Reich, there is always
one cannot help but to be impressed by the poetry in them
a touch of sadness to his works, a sense of the sombre
- a deep and heavy touch of history penetrates into and
"German tones."
resonates in each viewer's heart. He often applies a wide range of materials, such as oil paint, steel, lead, dusts,
Influenced by the great German art master Joseph Beuys,
photosensitive coatings, stones, leaves, photographs,
Kiefer chose to paint about German history, culture and
woodcuts, wheat, and petroleum. The large scale of the
mythologies, and the terror of Nazi Germany. Indeed,
composition and its mix of materials make his paintings
he addresses the past with courage and a clear attitude,
visually impressive. Pieces that represent the ruined, the
quite unlike other artists of the same period who avoided
unconfined, and the fragmented organize themselves
painting about the war, treating it as taboo. Later on,
into a peaceful, poetic, and magnificent scroll. Although
Kiefer produced these works in an unusual time and
That said, it is not hard to discover that Kiefer's coarse,
place, they nonetheless point out common problems. For
bold, and lavish artistic language orchestrates a new
example, they show that most of us lack something deep
hope that is exactly what German Romanticism needs. All
down in our spirits; perhaps it is a unique attitude for life,
sorts of waste - disorderly, fragmented, ruined - become
persistence and endurance, the courage to face the world
mesmerizing paintings through Kiefer's hands, and in this
wholeheartedly, or everlasting love. And at the same time,
way, Kiefer is akin to an invisible guard of the heap of ruins
they also lead the viewers to think about heaven and how
known as German Romanticism.
it may give us hope, console our hearts, and fulfill whatever we are lacking.
A wise person once said, "Hell is people." It is a pity that most people interpret this saying as "Hell is other people."
London art historian Norman Rosenthal wrote, "In his art,
To live without belief or love is to stand at the edge of a
Kiefer 'puts together the terrible and the wonderful of his
precipice. The greatest dramas in the world are tragedies,
country in an impressive way.'" Germans have always been
since tragedies can better reflect the true nature of beauty.
perceived as extremely rule-abiding and rational. But it
Is it fair to say that the best paintings have a touch of
was also this kind of nation that gave birth to the mad, like
tragedy in them? Anselm Kiefer has indeed interpreted
Hitler and the Nazis, who had led German Romanticism to
truth, belief, and love perfectly.
the devil. The unparalleled lure of German Expressionism was equated to "terror" and "guilt" in Nazi Germany. As
In 2007, following Georges Braque half a century ago,
the Second World War ended, German Romanticism was
Kiefer's works were granted the honor of a permanent
perceived as the source of national disaster and shame.
place at the Louvre, Paris.
From left to right 由左至右 Anselm KIEFER, En Sof (The Infinite) , 2008, oil, acrylic, shellac, glass, plaster and clothes on canvas, 190 x 140 cm 安森•基弗 《無盡》 2008 油彩 壓克力 蟲膠 玻璃 石膏 衣物 畫布 190 x 140 cm Anselm KIEFER, Liliths Tochter (The Daughter of Lilith) , 2006, oil, acrylic, shellac, brambles, resi-coated ferns, clothes and plaster on canvas under glass, 190 x 140 cm 安森•基弗《莉莉絲的女兒》2006 油彩 壓克力 蟲膠 荊棘 蕨類植物 衣物 石膏 畫布 190 x 140 cm
Ravenel 169
要說在當代畫家中誰對二十世紀末的世界文化產生了重要意義，安森．基弗就是那個無愧於此稱號的 人。安森．基弗，二十世紀80年代「新表現主義」代表畫家之一，1945年出生於前西德的唐那愛琴根 （Donaueschingen），正是史上的「德國零時」（German Zero Hour），這個歷史專有名詞指的是 1945年德國戰敗投降後的歲月，過去的一切不復存在，而未來還等於未知，一切由零開始。二戰之後的 這個民族，在精神上背負著難以想像的不能承受之重，特別是戰後出生的新一代，他們要應付一些不是 由他們引起，但自己不知道如何放下的事情。基弗正是這樣沉重地成長於「第三帝國」的廢墟和陰影之 下，他的作品始終懷著感傷，懷著憂鬱晦暗的「德國基調」。 在德國藝術大師約瑟夫．波依斯（J o s eph B euy s）的影響之下，基弗將創作題材聚焦在納粹時期的恐 怖和德國歷史、文化和神話上，勇敢地態度分明地去正視過去。這與同時期其他藝術家們對二戰極力迴 避、忌諱的態度有著本質的不同。此後，基弗的作品題材漸由著重於德國素材擴展上升到普遍意義上的 命運和文化，作品不僅有對民族性的象徵和記憶的收集，而且具有象徵主義、神學和神秘主義的意義。 當然，所有的題材還是來源於對這整個社會的經驗和記憶，來源於生活中不斷的消亡、再生與復活的創 傷，作品裡寫滿了這個民族內心裡壓倒一切的深重負罪感，寫滿了這個民族的精神抑鬱和反思德國戰敗 歷史的悲愴心境。 基弗曾說過一句後來常常被引用的話：「我的傳記就是德國的傳記」。他的作品充滿了史詩般的文學 性，佇立於他的繪畫之前，會深深地被作品中散發出來的詩意美感而打動，一種深沉厚重的歷史感進入 並震撼著每一個觀者的心靈。他的作品大量運用油彩、鋼鐵、鉛、灰燼、感光乳劑、石頭、樹葉、照 片、木刻畫、稻草、柏油等綜合材料。巨幅的畫面和混雜構成的畫面張力十足，由代表毀滅、淩亂和破 碎的隻言片語匯成一幅靜逸的、散發著詩意的宏偉畫卷。儘管這些作品產生於特殊的年代和地點，但是 同樣引出了許多普遍存在的問題。它讓我們看到許多存在於人類靈魂深處的黑暗：缺少特立獨行的人生 態度、缺少堅忍不拔的毅力、缺少真誠面對的勇氣、缺少矢志不渝的愛…同時引領著我們去思考天堂也 許是可以給人們以希望，安撫受傷人們的心靈以及彌補人們內心缺失的。 倫敦藝術史學家諾曼．羅森塔爾（Norman Rosenthal）寫道：在他的藝術中，基弗「以一種了不起的 方式把他的國家的可怕和美好匯集到一起」。德國人一直被視為是極度尊重規則和理性的民族，但就是 這樣的一個民族，卻誕生了希特勒和納粹這樣瘋狂的人們，他們將德國的浪漫主義引向了惡魔的深淵， 納粹時期的德國藝術表現出來的無與倫比的感染力被打上了恐怖和罪惡的標籤，隨著二戰的結束，德國 的浪漫主義成為了國家災難和恥辱的原罪，但通過基弗的藝術，不難發現，在這位德國藝術家用粗糙、 奔放、恢弘的藝術語言所構建的正是德國浪漫主義情懷的新的希望，他用淩亂的、破碎的、破敗的各種 廢物創作出深沉美麗的繪畫，像一位靜謐的守護者，默默的守衛在德國浪漫主義的廢墟當中。 有位智者說：人的地獄就是人自身。可惜的是更多人的理解卻是—人的地獄是他人。沒有信仰和愛，就 等於站在懸崖的邊緣。世界上最優秀的戲劇，它是悲劇，悲劇更能折射出美的魅力。那麼是否可以說， 最優秀的繪畫都帶有悲劇色彩？安森．基弗用他的作品對真實、信仰和愛做了完美詮釋。 2007年，繼半世紀前的喬治．布拉克（Georges Braque）之後，基弗成為另一名獲特許在巴黎羅浮宮 永久設置作品的藝術家殊榮。
Ravenel 171
074
MAURICE DE VLAMINCK (French, 1876-1958)
Rochers à Carolles 1946 Oil on canvas 65 x 81 cm Signed lower right Vlaminck This painting is to be sold with a certificate of authenticity issued by Wildenstein Institute, Paris.
HK$ 850,000 - HK$ 1,300,000 NT$ 3,602,000 - NT$ 5,508,000 US$ 109,700 - US$ 167,700
莫 里斯．德．烏拉曼克 海景 1946 油彩 畫布 65 x 81 cm 簽名右下：Vlaminck 附維恩斯坦藝術基金會開立之原作保證書
Maurice de VLAMINCK, Nature morte aux fruits et à la baguette de pain c. 1950, oil on canvas, 50 x 65 cm Ravenel Spring Auction 2015 Hong Kong, US$ 108,387 sold 莫里斯．德．烏拉曼克《有長棍麵包和水果的靜物》約1950年 油彩 畫布 50 x 65 cm 羅芙奧香港2015春拍 HK$ 840,000 成交
Ravenel 173
The exquisite "Rochers à Carolles", painted in 1946 is a derivative
approach that remained very dear to the artist's heart. "Rochers
from the fascinating interlude in the history of modern art from
à Carolles" is truly a remarkable work, beautifully imbued with
Vlaminck's intensely concentrated observation of a turbulent scenery
Vlaminck's strident individual characteristics derived from a vibrant life
of the waterscape, presumably near the Mont Saint-Michel of the
of experiences from being a Violinist, an athlete, a writer, and a truly
northwestern coast of France. The composition is rich in elements
revolutionary and exceptional artist of the early 20th century.
depicting a scene of the turbulent waves splashing against the rockery shoreline in the foreground. While the chiaroscuro effects of blue
1946年創成的《海景》一作是現代藝術的迷人篇章，描繪法國西北岸的
and white tumultuous flowing water rendered in cooler tones of blue
聖米榭爾峰一帶場景，展現出畫家烏拉曼克（Vlaminck）對激流精微的觀
and white guilds the viewers' eyes into the distant sea that goes
察。畫面構圖豐富，前景中激浪拍打岩岸，並運用明暗對比的冷調效果，
on indefinitely into the skyline, the profuse application of pigment
以藍白雙色繪成翻騰活水，將觀者的視線引至一望無際的大海遠景。油彩
and the sequence of dabs and short streaks rendered in tones of
豐富，筆觸或輕綴，或速撇，為畫中水景染上焦灰色，凸顯岸邊岩塊的明
blackish grey further define the highlights and dimensionality on the
暗層次和質地，營造飽和豐富的視覺感受。背景構圖元素堆疊，其天空場
rockeries along the shore, creating an effect of great optical richness.
景筆觸渾厚，添以沉穩揮灑的白灰色，演繹出全作調性。此精煉手法以色
The compositional elements is further extenuated against a sombre
彩斑斕的點綴、線紋筆觸呈現幽明對比，傳達出橫貫之流動感，使場景畫
backdrop enhanced with bold strokes and areas of contrasting
面益加廣袤開闊，渲染出此深妙之作的構圖元素。藝術史學和評論家賽茲
whitish-grey in the sky that sets the tone of the painting. This mastery
（Jean Selz）曾說，烏拉曼克「明暗對比的運用令人驚嘆，沈穩的用色也
in projecting the stark contrast between light and dark in dabs and
讓其畫作達到和諧的境界。」
streaks of colours conveys a sense of motion that cuts horizontally, connotative of space and brings forth the essential compositional
本拍品代表了烏拉曼克精湛而高超的風采，饒富魅力且臻至成熟，和他在
elements in this exquisite painting. In this regard, the Art historian and
1908年前受梵谷影響而為的野獸派畫作相當不同。其後，烏拉曼克在展
critic Jean Selz had once remarked upon the way in which Vlaminck's
覽中欣賞並觀察塞尚的畫作，受莫大啟發進而轉變自身畫風，用色趨於齊
"striking contrasts of light and shade and introduction of more sombre
一。於此，烏拉曼克藝術生涯邁入另一個里程，產出豐碩的作品，並於
tones all contribute to the harmony of Vlaminck's canvas. "
1909年舉行大型個展，成績斐然。一次世界大戰前後，引領法國現代藝 術的風潮產生劇變，由野獸派轉向立體派，身在巴黎的烏拉曼克並未坦然
The present lot represents a masterful consolidation of form that is
接受，他希望超越流派，就像馬蒂斯（H e n r i M a t i s s e）和德朗（A n d ré
both enticing and anchoring. It differs and contrasts with the artist's
Derain）一樣，保有個人特色，以獨特自然的顏料運用風格揮灑創作。
Fauves canvases inspired largely by works of Van Gogh whom the artist remained a key proponent of up until the 1908, after which his
烏拉曼克跨各創作時期及階段，分別以多幅作品描繪變化萬千的水景，展
palette become more monochromatic largely due to the influence
現對琢磨此類型創作及題材堅毅不懈的付出。他探索風景畫作各層面鍥而
and response to the works of Cézanne that he had observed at an
不捨，因而在多幅此類作品裏頭，可見他於藝術進程之不同時期的各個片
exhibition, an encounter that constituted a significant phrase of
刻，將其對真實世界的感知與內心情感投注於藝術化境之中。《海景》是
transition in Vlaminck's artistic development. This prolific phrase
烏拉曼克藝術生涯的傑出之作，足以代表他一段精彩藝作時期之風格，與
subsequently extended to a fruitful personal exhibition of larger scale
其後期作品一樣採用穩重內斂的色調，並以厚實而鮮明的白色顏料為之增
in 1909. In Vlaminck's latter artistic endeavors, the artist demonstrated
色。本作展現烏拉曼克畢生致力實踐承襲自各派的藝術理念、最終融會貫
difficulty in accepting Cubism's rise during the war in Paris when
通後卓然成家的圓熟和精到。《海景》完美展現了烏拉曼克的個人特色，
artistic modernism was undergoing a delicate transition from Fauvism
蘊含了他身兼小提琴家、運動員、作家和20世紀初創新藝術家的豐富人生
to Cubism in France. In essence, Vlaminck sought to progress beyond
體悟，不啻為值得珍藏的大師之作。
a style much like Henri Matisse and André Derain, all whilst retaining his idiosyncratic and instinctive manner of the application of paint. In retrospect, Vlaminck had depicted various waterscape scenery in different stages during his various artistic phrases, which reflects the artist's consistent endeavor in this genre and associated subject matter. It is apparent that Vlaminck had consistently explored the realms of scenery landscape, whereby many of these works are manifestations of his reality or inner emotions in responses to his artistic indulgence during the various phrases of his artistic development at a particular point in time. Nonetheless, "Rochers à Carolles" is truly an exceptional work that represents a significant period of Vlaminck's artistic endeavor, which parallels with his later works that predicates upon the utilization of a darker more sombre palette imbued with heavy strokes of contrasting whitish pigments, as epitomized by the present lot. Furthermore, it testifies to a distinguished maturity and mastery in techniques derived from a dedicated lifetime of constant experimentations with different genres
Maurice de VLAMINCK, Paysage de neige , c. 1950 oil on canvas, 60 x 73 cm, 莫里斯．德．烏拉曼克《雪景》約1950年 油彩 畫布 60 x 73 cm
of artistic influences that ultimately lead to the fruition of a stylistic
Ravenel 175
075
PAUL AÏZPIRI
(French, b. 1919)
Arlequin Oil on canvas 90 x 72 cm Signed lower left AÏZPIRI PROVENANCE: Sale of Shinwa Art Auction, Tokyo, January 23, 2010, lot 034
HK$ 200,000 - HK$ 300,000 NT$ 847,000 - NT$ 1,271,000 US$ 25,800 - US$ 38,700
Born in 1919 in France to an Italian mother and a father from the Basque Country, Spain, Aïzpiri was an optimistic person since birth, a disposition reflected by the vibrant colors and the unrestrained brushstrokes are the characteristic of his works. His signature composition, always with a touch of friendliness, is his integration of
保 羅．艾斯比利 小丑 油彩 畫布 90 x 72 cm 簽名左下：AÏZPIRI 來源： 親和拍賣，東京，2010年1月23日，編號034
Fauvism, Expressionism, and Cubism. In 1936, he started studying at L'École des Beaux-Arts, and his reputation was built as he held his first solo exhibition when he was 24. In 1946, he won Le Prix de la Jeune Peinture, and exhibited his works along with those of the most influential post-war painters, including Bernard Buffet and Paul Rebeyrolle. From the 1950s, famous galleries all over the world started to invite him for solo exhibitions. In 1996, an Aïzpiri museum (Nakata Museum of Art) opened in Japan, which is a rare honor for living artists. The thick color patches in his early works with unusual shades of grey are symbolic of the thoughts and aesthetic reflections on life during the post-war years. Later, Aïzpiri filled his palettes with brighter colors, and he started to paint his favorite themes: circus clowns, ladies, flowers, Venus; rose red, brilliant yellow, M e d i t e r r a n e a n b l u e … t h o s e w e re t h e c o l o r s o f s i m p l i f i e d silhouettes. Lines dancing around with light and crisp paces - like sunlight passing through stain glass - fill the canvas and orchestrate a glamorous mosaic-like picture. Like a curious little child, Aïzpiri is always attracted by the dreamy world. 艾斯比利1919年生於法國，母親為義大利人，父親來自西班牙巴斯克 區，充滿鮮豔色彩與奔放筆調的創作風格來自流於血液中的樂天基因。 他充滿個人特質的可親畫面，演化融匯自野獸派、表現主義與立體派。 1936年進入法國美術學院（Éco le des Bea ux-Arts），24歲舉辦首次 個展後名聲逐步建立。1946年獲頒青年藝術家獎（P r i x d e l a J e u n e Peinture），與同為戰後最具代表性的畫家畢費（Bernard Buffet）、賀 貝羅（Paul Rebeyrolle）等人共同展出。1950年代起受邀於各國著名畫 廊舉辦個展。1996年日本艾斯比利美術館開幕，為在世藝術家少有的殊 榮。 早期作品中特殊的灰鬱色調裡厚實的色塊，流露戰後氛圍下對生命與日 常生活的思索和美感體驗。隨著其漸漸明亮的調色盤，艾斯比利描繪著 鍾愛的主題：馬戲團小丑、女人、花卉、威尼斯…，玫瑰紅、明黃、地 中海藍…勾以簡約化的輪廓線條，耀動晶瑩有如穿透彩繪玻璃灑落的陽 光，形成馬賽克般絢麗的畫面；艾斯比利就像一個充滿好奇心的頑童， 睜大雙眼睛驚奇地欣賞著夢境般的世界。
Ravenel 177
VOLCANO / TWO HARES PETER ZOKOSKY
Peter Zokosky was born in California in 1957 and is one of the
彼得•鄒高斯基於1957年生於美國加州，是80年代自後現代主義中
best-known artists since the post-modernist period of the 1980s.
極具代表性的藝術家之一。鄒高斯基從加州大學畢業後1981年繼續
After graduating from University of California in 1981, Zokosky
進修於歐蒂斯藝術學院（Otis Art Institute），並且取得碩士學位。
continued his study at the Otis Art Institute and received his
鄒高斯基純熟的繪畫技巧，使他於1987年獲得美國國家藝術基金會
master's degree. He received Visual Arts Grant in Painting from
的繪畫獎，隔年則至台灣雄獅畫廊舉辦了第一次的海外個展。
the National Endowment for the Arts in 1987, and his first international solo exhibition was held at Hsiung Shih Gallery in the following year in Taiwan. Tr a c e s o f g re a t m a s t e r s and elements of classical paintings can be found in many of Zokosky's early works, yet Zokosy is able to internalize and develop as his unique way of painting in a poetic fashion. One
Lot 077
Lot 076
can feel both the grandiose and effervescence of nature from his paintings. According to an
鄒高斯基的早期作品經常能見到聚集眾位大師的身影，卻融合成獨
influential contemporary art critic Victoria Yung-Chih Lu once
特的詩意風格。從鄒高斯基的作品中能夠感受到大自然的宏偉且多
commented in Hsiung Shih Monthly journal, "one may feel
變的風貌，他可能描繪著一場夢境或是純粹的自然氣候變化，知名
a little misplaced in time and space when viewing Zokosky's
當代藝術藝評家陸蓉之曾於《雄獅美術》月刊裡提及：「觀看鄒高
work… Most of his works are portrayed in poetic fashion and in
斯基的畫會有時間錯置的迷惑感覺…他多數的作品都與自然變奏的
relations to the nature… yet it could be a natural phenomenon
詩歌有關…彷彿是自然的現象，又似乎僅僅是夢中的幻想。」像是
or as the illusions in dreams at the same time." In "Volcano" for
《火山爆發》這幅作品，觀者不禁注意到小男童身後那黑色的灰雲
instance, viewers can't help but to notice that the dark clouds
即將佈滿天際，滾燙岩漿慢慢吞噬崩塌的山城，只見右下角的男童
behind the little boy are about to dominate the sky, and that
身著白衣與後方瀰漫的火山灰形成強烈對比，人與大地之間是否即
the boiling lava is engulfing the town that is already nearly
將失衡，這些都是出自於藝術家對人類的關心，同時也時時刻刻提
destroyed. In the lower right corner, one can note that the boy
醒著人們有多渺小。
in white is in stark contrast with grey volcano ash. Is the balance between mankind and nature falling apart? Works of Zokosky
然而鄒高斯基深厚的傳統繪畫技巧源自於自小內心的好奇心，他六
remind viewers to think carefully and re-evaluate our actions.
歲時曾將一隻逝去的小鳥解剖只為了學習其結構，他不僅觀察其外 表，甚至希望發現事物內在的核心，他對科學、解剖學、生命的循
Zokosky's excellent painting techniques partly originated from
環都有著極大的興趣。如同《兩隻野兔》，第一眼看上去和一般的
the curious mind of his, as seen at the age of six, he dissected
寫實西洋動物畫並無差異，鄒高斯基很細膩的將一黑一白的兔子描
a bird just to learn about its anatomy. The artist always seeks
繪於畫布的中央，實際上卻隱喻著美國多元人種以及衍生的衝突，
beneath the surface, in which he held a keen interest in the
他表示：「這只是以不同方式來看世界而已，其實他們還是同樣的
matter of science, anatomy and the circle of life nature. Looking
東西」，在簡單的畫布中可常見鄒高斯基探討著虛實、人類和大自
at "Two Hares", it seemed indifference to other realistic animal
然之間的互動及衝突。
paintings, yet it is said that Zokosky painted the hare one in black and another in white as his way of metaphorically implying the composition of the races in the States, as well as the implication of conflicts between the two. "Using metaphor is just another
way to perceive the world. The observed and its meaning are still the same thing," Zokosky stated. One often sees such themes as the real versus the illusionary, as well as the conflicts and interactions between human beings and nature. Ravenel 179
076
PETER ZOKOSKY
(American, b. 1957)
Two Hares 1988 Oil on canvas 53 x 66 cm Signed on the reverse ZOKOSKY and dated 1988 EXHIBITED: Peter Zokosky Oil Painting One Man Show , Hsiung Shih Gallery, Taipei, July 9 - 24, 1988 This painting is to be sold with a certificate of authenticity issued by Hsiung Shih Gallery, Taipei and signed by the artist.
彼得•鄒高斯基 兩隻野兔 1988 油彩 畫布 53 x 66 cm 簽名畫背：ZOKOSKY 1988 展覽： 「彼得•鄒高斯基油畫個展」，雄獅畫廊，台北， 展期自1988年7月9日至24日 附雄獅畫廊開立藝術家親筆簽名之原作保證書
HK$ 60,000 - HK$ 90,000 NT$ 254,000 - NT$ 381,000 US$ 7,700 - US$ 11,600
077
PETER ZOKOSKY
(American, b. 1957)
Volcano 1988 Oil on canvas 71 × 104 cm Signed on the reverse ZOKOSKY and dated 1988 EXHIBITED: Peter Zokosky Oil Painting One Man Show , Hsiung Shih Gallery, Taipei, July 9-24, 1988 ILLUSTRATED: Hsiung Shih Art Monthly , Taipei, July 1988, Vol.209, black and white illustrated, p. 74 This painting is to be sold with a certificate of authenticity issued by Hsiung Shih Gallery, Taipei and signed by the artist.
彼得•鄒高斯基 火山爆發 1988 油彩 畫布 71 x 104 cm 簽名畫背：ZOKOSKY 1988 展覽： 「彼得•鄒高斯基油畫個展」，雄獅畫廊，台北， 展期自1988年7月9日至24日 圖錄： 《雄獅美術》（月刊），台北，1988年7月， 209期，黑白圖版，頁74 附雄獅畫廊開立藝術家親筆簽名之原作保證書
HK$ 160,000 - HK$ 240,000 NT$ 678,000 - NT$ 1,017,000 US$ 20,600 - US$ 31,000 Ravenel 181
078
SAM FRANCIS
(American, 1923-1994)
Untitled, SF79-710 1979 Acrylic on paper 49.5 x 35.5 cm Stamped on the reverse Sam Francis , inscribed Del 3177 19 7/16 x 13 7/8'' SF79-710 14'' x 19 1/2'' With one stamp of the Sam Francis Estate on the reverse This painting has been registered with the Sam Francis Foundation in the number of SF79-710.
HK$ 140,000 - HK$ 220,000 NT$ 593,000 - NT$ 932,000 US$ 18,100 - US$ 28,400
Sam Francis is one of the American abstract expressionist painters most deeply influenced by European tradition. In the 1950s, he traveled and lived in Paris, where he was influenced by the artist Jean-Paul Riopelle. The works of Matisse and
山 姆•法蘭西斯 無題，SF79-710
Monet’s Water Lilies series also inspired him greatly. His color palette, originally dark and dull, became brighter, more colorful, and more adventurous, resulting in many works with
1979 壓克力 紙本 49.5 x 35.5 cm
large areas of whiteness. His compositions are influenced by
鈐印畫背：Sam Francis 題識畫背：Del 3177 19 7/16 x 13 7/8'' SF79-710 14'' x 19 1/2'' 鈐印畫背：The Sam Francis Estate
on him. Ink splashing is a technique employed in his works, a
此作品已於山姆•法蘭西斯基金會作品登錄， 編號SF79-710
styles from three major continents – the eastern ideology of Zen from Buddhism has had an especially significant influence magnificent expression of strong and bright colors. The color blue rose into prominence starting from 1959. Besides the use of colors, Francis also has a strong grasp of the use of space, light and air. Francis has extensive knowledge of music, poetry, psychology, and even technology. This knowledge makes his artwork rich and harmonious, bold yet subtle. The liquid style and literary space, infused into vibrant colors, produce a strong tension in an explosive momentum. 山姆．法蘭西斯是美國抽象表現主義中最具歐洲人文傳統的畫家 之一。1950年代旅居巴黎，受到藝術家李歐佩樂的影響，而馬蒂 斯的作品與莫內的《荷花》系列也對他有重要啟發，原本灰調沉 靜的調色盤，轉向對光線、顏色的遊戲，並創作出多件大尺幅， 大面積留白的作品。他的創作足跡遍布三大洲，東方佛教中的禪 學思想尤其對他有極大的影響，作品中亦出現潑墨效果，呈現出 一種華麗的濃烈鮮豔色彩。1959年起，「藍色」開始在他的作品 中佔有重要的地位。除了色彩的運用，法蘭西斯對空間、光和空 氣的理解上也尤其出色。 法蘭西斯對於音樂、詩歌、心理學甚或科技等方面多有涉略，使 他的作品更顯豐富和諧，大膽而含蓄。流動性的形式以及充滿文 學性的空間，納入洋溢的色彩中，在那爆發性的衝勁下，產生強 大張力。
Ravenel 183
079
SAM FRANCIS
(American, 1923-1994)
Untitled, SF90-192 c. 1990 Watercolor on paper 21 x 14 cm Stamped on the reverse Sam Francis , inscribed Del 350 b SF90-192 S2-29-T With one stamp of the Sam Francis Estate on the reverse This painting has been registered with the Sam Francis Foundation in the number of SF90-192.
HK$ 40,000 - HK$ 60,000 NT$ 169,000 - NT$ 254,000 US$ 5,200 - US$ 7,700
山姆•法蘭西斯 無題，SF90-192 約1990 水彩 紙本 21 x 14 cm 鈐印畫背：Sam Francis 題識畫背：Del 350 b SF90-192 S2-29-T 鈐印畫背：The Sam Francis Estate 此作品已於山姆•法蘭西斯基金會作品登錄，編號SF90-192
080
SAM FRANCIS
(American, 1923-1994)
Untitled, SF78-1087 1978 Acrylic on paper 26 x 15.5 cm Stamped on the reverse Sam Francis , inscribed Del3.396 SF78-1087 10 1/8 x 6 1/4 With one stamp of the Sam Francis Estate on the reverse This painting has been registered with the Sam Francis Foundation in the number of SF78-1087.
HK$ 60,000 - HK$ 90,000 NT$ 254,000 - NT$ 381,000 US$ 7,700 - US$ 11,600
山姆•法蘭西斯 無題，SF78-1087 1978 壓克力 紙本 26 x 15.5 cm 鈐印畫背：Sam Francis 題識畫背：Del3.396 SF78-1087 10 1/8 x 6 1/4 鈐印畫背：The Sam Francis Estate 此作品已於山姆•法蘭西斯基金會作品登錄，編號SF78-1087
Ravenel 185
081
SAM FRANCIS
(American, 1923-1994)
Untitled, SF75-1151 c. 1975-1979 Acrylic on paper 49.5 x 35.5 cm Stamped on the reverse Sam Francis , inscribed Del 3233 SF75 1151 S4-57Q With two stamp of the Sam Francis Estate on the reverse This painting has been registered with the Sam Francis Foundation in the number of SF75-1151.
HK$ 120,000 - HK$ 180,000 NT$ 508,000 - NT$ 763,000 US$ 15,500 - US$ 23,200
山姆•法蘭西斯 無題，SF75-1151 約1975-1979年 壓克力 紙本 49.5 x 35.5 cm 鈐印畫背：Sam Francis 題識畫背：Del 3233 SF75 1151 S4-57Q 兩枚鈐印畫背：The Sam Francis Estate 此作品已於山姆•法蘭西斯基金會作品登錄，編號SF75-1151
082
SAM FRANCIS
(American, 1923-1994)
Untitled, SF85-646 1985 Ink on paper 35.5 x 28 cm Stamped on the reverse Sam Francis , inscribed SF85-646 S4-164-00 and dated 1985 With one stamp of the Sam Francis Estate on the reverse This painting has been registered with the Sam Francis Foundation in the number of SF85-646.
HK$ 65,000 - HK$ 100,000 NT$ 275,000 - NT$ 424,000 US$ 8,400 - US$ 12,900
山姆•法蘭西斯 無題，SF85-646 1985 水墨 紙本 35.5 x 28 cm 鈐印畫背：Sam Francis 題識畫背：SF85-646 1985 S4-164-00 鈐印畫背：The Sam Francis Estate 此作品已於山姆•法蘭西斯基金會作品登錄，編號SF85-646
Ravenel 187
083
WALASSE TING
(Chinese-American, 1929-2010)
Profils c. 1960s Pastel and wax crayon on paper 89 x 57 cm Signed lower right Walasse Ting PROVENANCE: Cornette de Saint Cyr, Paris, November 25, 2001, lot 394 Cornette de Saint Cyr, Paris, October 23, 2006, lot 696
HK$ 48,000 - HK$ 72,000 NT$ 203,000 - NT$ 305,000 US$ 6,200 - US$ 9,300
丁雄泉 側影 約1960年代 粉彩 蠟筆 紙本 89 x 57 cm 簽名右下：Walasse Ting 來源： 巴黎 科奈特•德•聖許荷拍賣，2001年11月25日， 編號394 巴黎 科奈特•德•聖許荷拍賣，2006年10月23日， 編號696
084
WALASSE TING
(Chinese-American, 1929-2010)
Two Lovebirds
丁雄泉
1999 Acrylic on paper 73 x 95.5 cm
愛情鳥
With one seal of the artist PROVENANCE: London Arts Group, USA Private collection, USA
1999 壓克力 紙本 73 x 95.5 cm 鈐印右下：採花大盜 來源： 倫敦藝術畫廊，美國 私人收藏，美國
HK$ 120,000 - HK$ 180,000 NT$ 508,000 - NT$ 763,000 US$ 15,500 - US$ 23,200
Ravenel 189
085
WALASSE TING
(Chinese-American, 1929-2010)
Bird Talk
丁雄泉
1978 Gouache and acrylic on paper 70 x 100 cm
鳥語
Signed on the reverse Ting , titled Bird Talk and dated 78 April 27 PROVENANCE: London Arts Group, USA Private collection, USA
HK$ 130,000 - HK$ 200,000 NT$ 551,000 - NT$ 847,000 US$ 16,800 - US$ 25,800
1978 水粉 壓克力 紙本 70 x 100 cm 簽名畫背：Bird Talk Ting 78 April 27 來源： 倫敦藝術集團畫廊，美國 私人收藏，美國
London Arts Group was one of the main representatives of Walasse Ting's works dated to the late 1970s for over 25 years. In 1979, Walasse Ting first commissioned 'Bird Talk' for publication of lithographs, with a limited number of 200 at the size of 56 x 76 cm, they were issued in 1981.
倫敦藝術集團畫廊為丁雄泉主要合作的畫廊之一，時間可 追溯到1970年代後期，超過25年。1979年接受丁雄泉委 託，以《鳥語》圖像發行石版畫，尺寸約為56 x 76公分， 限量200件，發行年代1981年。
086
CHUN KWANG-YOUNG (Korean, b. 1944)
Aggregation 97-11 1997 Mixed media with Korean mulberry paper 75 x 55 cm Signed on the reverse CHUN, KWANG-YOUNG in English and Han characters, initialed K. Y ch , titled AGGREGATION 97-11 in English and Han characters, inscribed 75 x 55 cm MIXED MEDIA WITH KOREAN PAPER , dated 97
HK$ 100,000 - HK$ 150,000 NT$ 424,000 - NT$ 636,000 US$ 12,900 - US$ 19,400
全光榮 集合 97-11 1997 綜合媒材 韓國桑紙 75 x 55 cm 簽名畫背：CHUN, KWANG-YOUNG 全光榮 AGGREGATION（集合） 97-11 75 x 55 cm MIXED MEDIA WITH KOREAN PAPER, dated 97 K. Y ch
Ravenel 191
087
TRAN LUU HAU
(Vietnamese, b. 1928)
Dalat Flower Festival 2005 Oil on canvas 80 x 100 cm Signed lower left Hau and dated 05 This painting is to be sold with a certificate of authenticity issued by Arch Angel Art, Hong Kong.
HK$ 40,000 - HK$ 60,000 NT$ 169,000 - NT$ 254,000 US$ 5,200 - US$ 7,700
陳留厚 大勒花卉嘉年華 2005 油彩 畫布 80 x 100 cm 簽名左下：Hau 05 附香港Arch Angel Art畫廊開立之原作保證書
088
ARIE SMIT
(Dutch, b. 1916)
Sunset in Bali 2001 Acrylic on canvas 45 x 54 cm Signed lower left Arie Smit and dated 01 Signed on the reverse Arie Smit , titled Sunset in Bali , and dated 2001 This painting is to be sold with a certificate of authenticity issued by Neka Art Museum, Bali and signed by the artist.
艾利•斯密特 峇里島的夕陽 2001 壓克力 畫布 45 x 54 cm 簽名左下：Arie Smit. 01 簽名畫背：Sunset in Bali Arie Smit 2001 附奈卡美術館開立藝術家親筆簽名之原作保證書
HK$ 60,000 - HK$ 90,000 NT$ 254,000 - NT$ 381,000 US$ 7,700 - US$ 11,600
Ravenel 193
089
KUO I-CHEN
(Taiwanese, b. 1979)
Survivor Project, Eclipses the Dream 2007 Video Installation, edition no. 5/6 50 (L) x 30 (W) x 20 (H) cm (the globe) EXHIBITED: Mutation-Kuo I-Chen Solo Exhibition , Galerie Grand Siècle, Taipei, October 12 – November 7, 2007 ILLUSTRATED: Younger than Jesus: Artist Directory , New Museum and Phaidon Press, New York, 2009, color illustrated, p. 283 Mutation-Kuo I-Chen , Galerie Grand Siècle, Taipei, 2008, color illustrated This work is to be sold with a certificate of authenticity signed by the artist.
HK$ 55,000 - HK$ 85,000 NT$ 233,000 - NT$ 360,000 US$ 7,100 - US$ 11,000
郭奕臣 倖存者號 – 蝕夢 2007 動力影像裝置 5/6 50（長）x 30（寬）x 20（高）cm （球體） 展覽： 「突變 – 郭奕臣個展」，新苑藝術中心，台北， 展期自2007年10月12日至11月7日 圖錄： 《新一代：比耶穌還年輕》，新美術館，紐約，2009， 彩色圖版，頁283 《突變 – 郭奕臣》，新苑藝術，台北，2008，彩色圖版 附藝術家親筆簽名之原作保證書
090
HUANG PO-REN
(Taiwanese, b. 1970)
The Dog's Notes - Home 2005 Bronze, edition no. 15/30 15 (L) × 40 (W) × 22 (H) cm Engraved on the back of the leg PR , numbered 30-15 and initialed PR on the base EXHIBITED: The Artistic Conversation of "Love Dogs, Adore Dogs" , Powen Gallery, Taipei, May 15 - June 12, 2014 (different edition) The Dog's Note - Huang Po-Ren Solo Exhibition , Williamsburg Art & Historical Center, New York, November 7 - December 6, 2015 (different edition) ILLUSTRATED: Huang Po-Ren Sculpture , Taichung City Cultural Center, Taichung, 2005, color illustrated, p. 52 (study version) The Dog's Notes: Poren Huang , Powen Gallery, Taipei, 2014, color illustrated, pp. 12, 32, 35 (different edition) This sculpture is to be sold with a certificate of authenticity issued by Powen Gallery, Taipei and signed by the artist.
黃柏仁 狗札記系列 – 回家 2005 銅 15/30 15（長）x 40（寬）x 22（高）cm 簽名底部：30–15. PR 簽名雕刻後側：PR 展覽： 「愛狗敬狗的藝術對話 – 狗札記．黃柏仁個展」， 紅野畫廊，台北，展期自2014年5月15至6月12日 （不同版次） 「狗札記 – 黃柏仁雕塑個展」，紐約WAH藝術中心， 紐約，展期自2015年11月7日至12月6日（不同版次） 圖錄： 《黃柏仁雕塑》，台中縣立文化中心，台中，2005， 彩色圖版，頁52（習作） 《狗札記/黃柏仁》，紅野畫廊，台北，2014，彩色圖 版，頁12、32、35（不同版次） 附紅野畫廊開立及藝術家親筆簽名之原作保證書
HK$ 34,000 - HK$ 55,000 NT$ 144,000 - NT$ 233,000 US$ 4,400 - US$ 7,100
Ravenel 195
091
HSU TANG-WEI
(Taiwanese, b. 1980)
Celestial Bodies 2006 Acrylic on board 30 x 80 cm Signed on the side TANG-WEI in Chinese and English, dated 2006
HK$ 32,000 - HK$ 50,000 NT$ 136,000 - NT$ 212,000 US$ 4,100 - US$ 6,500
許唐瑋 類星體 2006 壓克力 木板 30 x 80 cm 簽名側面：唐瑋TANG-WEI 2006
092
HSU TANG-WEI
(Taiwanese, b. 1980)
Philosopher's Stone 2 (Celestial Bodies) 2006 Acrylic on board 40 x 120 cm Signed on the reverse Hsu Tang-wei in Chinese, TANG-WEI in English, and dated 2006 EXHIBITED: Dredging up the Drift, IT PARK Gallery, Taipei, December 23, 2006 - January 20, 2007.
HK$ 32,000 - HK$ 50,000 NT$ 136,000 - NT$ 212,000 US$ 4,100 - US$ 6,500
許唐瑋 哲人石2（星體） 2006 壓克力 木板 40 x 120 cm 簽名畫背：許唐瑋TANG-WEI 2006 展覽： 「返式歷程」，伊通公園藝術空間，台北， 展期自2006年12月23日至2007年1月20日
Ravenel 197
093
KAMATANI TETSUTARO (Japanese, b. 1979)
Human Paradise 0-2 2008 Oil and mixed media on canvas 81 x 117 cm
鎌谷徹太郎 人間天堂0-2
Signed on the reverse Kamatani , titled Human Paradise 0-2 , dated 2008
2008 油彩 綜合媒材 畫布 81 x 117 cm
EXHIBITED: Ultra Superficial , Gallery J Chen, Taipei, March 21 - April 30, 2009
簽名畫背：Kamatani Human Paradise 0-2 2008
HK$ 55,000 - HK$ 85,000 NT$ 233,000 - NT$ 360,000 US$ 7,100 - US$ 11,000
展覽： 「極端膚淺論」，J Chen畫廊，台北， 展期自2009年3月21日至4月30日
094
AYAKO ROKKAKU
(Japanese, b. 1982)
Untitled 2008 Acrylic on canvas 100 x 100 cm Signed lower right Ayako Rokkaku in Japanese and dated 2008 EXHIBITED: Colours in My Hand by Ayako Rokkaku , Kunsthal Rotterdam, Rotterdam, June 25 - August 20, 2011 ILLUSTRATED: Colours in My Hand, Ayako Rokkaku , Gallery Delaive, Amsterdam; Kunsthal Rotterdam, Rotterdam, 2011, color illustrated, p. 54
六角彩子 無題 2008 壓克力 畫布 100 x 100 cm 簽名右下：2008 ロッカクアヤコ 展覽： 「色彩在我手中：六角彩子畫展」，鹿特丹當代美術 館，鹿特丹，展期自2011年6月25日至8月20日 圖錄： 《色彩在我手中：六角彩子》，德萊芙畫廊， 阿姆斯特丹；鹿特丹當代美術館，鹿特丹，2011， 彩色圖版，頁54
HK$ 60,000 - 90,000 NT$ 254,000 - NT$ 381,000 US$ 7,700 - US$ 11,600 Ravenel 199
095
YOSHITOMO NARA (Japanese, b. 1959)
Sleepless Night Sitting 2007 Fiberglass, edition no. 295/300 15 (L) x 19 (W) x 28 (H) cm (sculpture) 36 (L) x 26 (W) x 24 (H) cm (box) EXHIBITED: NARA + GRAF , Centro de Arte Contemporáneo de Málaga, Spain, September 21, 2007 - January 6, 2008 (different edition exhibited) ILLUSTRATED: Yoshitomo Nara , The Complete Works 1984 - 2010 , Bijutsu Shuppan Sha, Tokyo, Japan, 2011, color illustrated, p. 314 (different edition illustrated) This sculpture is to be sold with a certificate of authenticity and a wooden box.
HK$ 90,000 - HK$ 150,000 NT$ 381,000 - NT$ 636,000 US$ 11,600 - US$ 19,400
奈 良美智 失眠夜坐著 2007 玻璃纖維 295/300 15（長）x 19（寬）x 28（高） cm （人物） 36（長）x 26（寬）x 24（高） cm （箱子） 展覽： 「奈良 + GRAF」，馬拉加當代藝術中心， 西班牙，展期自2007年9月21日至2008年1月6日 圖錄： 《奈良美智全作品集1984-2010》第一卷， 美術出版社，東京，日本，2011，彩色圖版， 頁314（圖片為不同版次） 附原作保證書及木盒
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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 Art Department, Hong Kong 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 2015 HONG KONG Modern & Contemporary Art Sunday, 29 November 2015, 11:00 am HA1502 Grand Hyatt Hong Kong - Grissini 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 Room 1307A, 13/F, 39 Healthy Street East, North Point, 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小時前送抵香港藝術部。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 2015 秋季拍賣會 現代與當代藝術 拍 賣 編 號：HA1502 香港拍賣日期：2015 年 11 月 29 日（星期日） 上午 11:00 香港君悅酒店（二樓 Grissini）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 香港北角健康東街13樓1307A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
208
INDEX A
Q
AI XUAN
艾軒
047
QIU ZHIJIE
邱志傑
063
PAUL AÏZPIRI
保羅．艾斯比利
075
QU LEILEI
曲磊磊
045, 046
GEORGE CHANN
陳蔭羆
036
AYAKO ROKKAKU
CHEN CHENG WEI
陳承衛
044
CHIU YA-TSAI
邱亞才
031
S
CHU TEH-CHUN
朱德群
023, 024, 029
CHUN KWANG-YOUNG
全光榮
CORNEILLE
柯奈爾
C
R 六角彩子
094
NIKI DE SAINT PHALLE
妮基．德．聖法爾
069
SHENG QI
盛奇
064
086
SHIY DE-JINN
席德進
070
ARIE SMIT
艾利．斯密特
088
SU XIAOBAI
蘇笑柏
030
D
012, 013, 014, 015, 016, 017
丁乙
056
T'ANG HAYWEN
曾海文
004, 005, 006
FANG LIJUN
方力鈞
058
WALASSE TING
丁雄泉
033, 034, 083, 084, 085
SAM FRANCIS
山姆．法蘭西斯
078, 079, 080
TRAN LUU HAU
陳留厚
087
TSANG TSOU CHOI
曾灶財
051
TSENG YUHO
曾佑和
039
VICTOR VASARELY
維多．瓦薩雷利
071
MAURICE DE VLAMINCK
莫里斯．德．烏拉曼克
074
DING YI
F
081, 082 ALIXE FU
傅慶豊
003
谷文達
052
G GU WENDA
T
V
H HSIA YAN
夏陽
021
W
HSIAO CHIN
蕭勤
011
WANG PAN-YOUN
王攀元
002
HSU TANG-WEI
許唐瑋
091, 092
WANG YEHAN
王益輝
042
HU SHANYU
胡善餘
007
JOHN WAY
魏樂唐
041
HUANG GANG
黃鋼
053
WU GUANZHONG
吳冠中
HUANG PO-REN
黃柏仁
090
WU HAO
吳昊
JI GUANGJI
紀光吉
067, 068
JU MING
朱銘
028
KAMATANI TETSUTARO
鐮谷徹太郎
093
YAN PEI MING
嚴培明
059
ANSELM KIEFER
安森．基弗
073
YANG CHIHUNG
楊識宏
032, 040
KUO I-CHEN
郭奕臣
089
TZU-CHI YEH
葉子奇
022
YAYOI KUSAMA
草間彌生
072
YU CHENG-YAO
余承堯
018
LAMPO LEONG
梁藍波
065
ZAO WOU-KI
趙無極
026, 027
LI JIKAI
李繼開
061
ZHAN WANG
展望
055
LI SHAN
李山
054
ZHANG YU
張羽
066
RICHARD LIN
林壽宇
001
ZHAO GANG
趙剛
LIU KUO-SUNG
劉國松
019, 020
PETER ZOKOSKY
彼得．鄒高斯基
J
X
K
夏俊娜
035
XU BING
徐冰
057
Z
N 奈良美智
095
P PANG JIUN
XIA JUNNA
Y
L
YOSHITOMO NARA
025 037, 038
龐均
008, 009, 010, 043, 048 049, 050
209
062 076, 077