現代與當代藝術 Modern and Contemporary Art

SPRING AUCTION 2016 HONG KONG

RAVENEL SPRING AUCTION 2016 HONG KONG Modern and Contemporary Art

羅芙奧香港 2016 春季拍賣會 現代與當代藝術拍賣

AUCTION

拍賣日期 / 地點

Sunday, 29 May 2016, 11:00 am Grand Hyatt Hong Kong (Ballroom) 1 Harbour Road, Wanchai, Hong Kong

2016年5月29日（日） 上午 11:00 香港君悅酒店（宴會大禮堂） 香港灣仔港灣道1號

PREVIEWS

預展日期 / 地點

Taichung

台中 2016年5月14日（六） 下午1:00至下午6:00 2016年5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 2016年5月21日（六） 上午10:00至下午6:00 2016年5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 2016年5月27日（五） 中午12:00至下午7:00 2016年5月28日（六） 上午10:00至下午7:00 香港君悅酒店（M樓茶園） 香港灣仔港灣道1號

Saturday, 14 May 2016, 1:00 pm - 6:00 pm Sunday, 15 May 2016, 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 May 2016, 10:00 am - 6:00 pm Sunday, 22 May 2016, 10:00 am - 6:00 pm Fubon International Conference Center B2, No. 108, Sec. 1, Dunhua South Road, Taipei, Taiwan

Friday, 27 November 2016, 12:00 pm - 7:00 pm Saturday, 28 November 2016, 10:00 am - 7:00 pm Grand Hyatt Hong Kong (Tiffin) 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

Wendy LEE 李雅欣

Chief Operation Officer 營運長

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

鄧秀麗 Crystal Tang

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

張鶴軒 Helen Zhang

蔡晉欣 Olivier Tsai

北京業務代表 Sales Representative, Beijing

台北藝術部 副理 Assistant Manager, Art Department, Taipei

游景涵 Carol Yu

江玉涵 Marguerite Chiang

香港藝術部 業務助理 Sales Assistant, Art Department, Hong Kong

台北藝術部 行政主任 Administrative Officer, Art Department, Taipei

CONTENTS 5

Sale Information 羅芙奧香港春季拍賣會

8

Ravenel Services 羅芙奧之服務

12

Modern and Contemporary Art 現代與當代藝術

213

Transaction Rules For Art (Hong Kong) 業務規則

219

Absentee Bid Form 委託競投表格

221

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

Specialist Crystal Tang Tel: +852 2889 0859 ext. 784 Email: crystaltang@ravenel.com

Head of Business Development Dept.

Vivi He Tel: +852 2889 0859 ext. 711 Email: vivihe@ravenel.com

Sales Representative Helen Zhang Tel: +86 10 8587 8099 ext. 21 Email: helenzhang@ravenel.com

Remarks: If you are unable to attend the auction in person, you may tender the bid by phone or you may use the absentee bid forms attached at the back of the auction catalogue to tender your bid. It is also possible to bid online for selected lots. Please refer to ravenel.com for more information.

Hong Kong Crystal Tang Tel: +852 2889 0859 ext. 784 Email: crystaltang@ravenel.com

Beijing Helen Zhang Tel: +86 10 8587 8099 ext. 21 Email: helenzhang@ravenel.com

Eric Siu Tel: +852 2889 0859 ext.781 Email: ericsiu@ravenel.com

Taiwan Carol Yu Tel: +886 2 2708 9868 ext.146 Email: carolyu@ravenel.com

CATALOGUE SUBSCRIPTION

Jason Dong Tel: +86 10 8587 8099 ext.22 Email: jasondong@ravenel.com

Taiwan Carol Yu Tel: +886 2 2708 9868 ext.146 Email: carolyu@ravenel.com

Eric Siu Tel: +852 2889 0859 ext.781 Email: ericsiu@ravenel.com

Beijing Helen Zhang Tel: +86 10 8587 8099 ext.21 Email: helenzhang@ravenel.com

Shanghai Xiu Lee Tel: +86 21 6228 2883 Email: xiulee@ravenel.com

Taipei, International Odile Chen Tel: +886 2 2708 9868 ext. 889 Email: odilechen@ravenel.com

Hong Kong, International

In view of the limited phone line services at the auction, please inform us 24 hours prior to the auction for arrangements. Particularly for those of you who need foreign language assistance of the bidding.

Hong Kong, International PHONE BIDS AND WRITTEN BIDS

COLLECTION AND SHIPPING

The catalogues are available for subscription.

For details of subscription, please refer to the explanations of the catalogue or contact the above persons.

ONLINE BIDS Register at LiveAuctioneers www.liveauctioneers.com/sign-up

China

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 2016春季拍賣會服務部門及連絡人

藝術品諮詢專家 香港藝術部 香港藝術部總經理

註二：鑑於拍賣現場電話有限，欲以電話投 標方式競標的投標者，請於拍賣前24小時通 知我們為您安排，尤其對需用外國語言服務 之投標者。

陳惠黛 電話：+886 2 2708 9868 轉 889 電子信箱：odilechen@ravenel.com

目錄訂閱

專家

台灣

鄧秀麗 電話：+852 2889 0859 轉 784 電子信箱：crystaltang@ravenel.com

游景涵 電話：+886 2 2708 9868 轉146 電子信箱：carolyu@ravenel.com

業務發展部總監

香港．國際

何瑩 電話：+852 2889 0859 轉 711 電子信箱：vivihe@ravenel.com

邵俊豪 電話：+852 2889 0859 轉 781 電子信箱：ericsiu@ravenel.com

業務代表

北京

張鶴軒 電話：+86 10 8587 8099 轉21 電子信箱：helenzhang@ravenel.com

張鶴軒 電話：+86 10 8587 8099 轉21 電子信箱：helenzhang@ravenel.com

上海 電話書面競標聯絡人 香港 鄧秀麗 電話：+852 2889 0859 轉 784 電子信箱：crystaltang@ravenel.com

李政希 電話：+86 21 6228 2883 電子信箱：xiulee@ravenel.com

本目錄開放各界訂閱，詳細訂閱辦法，請參 照目錄之說明或請洽上述聯絡人。

北京 張鶴軒 電話：+86 10 8587 8099 轉21 電子信箱：helenzhang@ravenel.com

台北．國際 陳惠黛 電話：+886 2 2708 9868 轉 889 電子信箱：odilechen@ravenel.com 註一：如您無法親臨拍賣現場，可以電話投 標方式競標；亦可利用附在此目錄後面之委 託競投表格；或可參與網上競投，詳情請洽 羅芙奧官方網頁。

網上競投 請前往 LiveAuctioneers 註冊 www.liveauctioneers.com/sign-up

取貨及運輸事宜 香港．國際 邵俊豪 電話：+852 2889 0859 轉 781 電子信箱：ericsiu@ravenel.com

台灣 游景涵 電話：+886 2 2708 9868 轉146 電子信箱：carolyu@ravenel.com

中國 董戈 電話：+86 10 8587 8099 轉22 電子信箱：jasondong@ravenel.com

註一：所有拍品在貨款結清後，即可取貨； 買家請儘早通知安排取貨事宜，以利倉庫存 貨流通和集中安排辦理，本公司接受個人及 公司支票付款，惟需在兌現後始能提貨。恕 不接受旅行支票付款。其他各項貨品可在羅 芙奧辦公室提領，上班時間為週一至週五上 午9:30至下午6:30。 註二：我們的專業行政部門可為您建議或安 排最適當的運輸方式。 羅芙奧樂意提供您本次拍賣當中任何一項拍 品的狀況報告書，惟準買家需注意拍品均是 以「當時認定」之狀況賣出，相關細項請參 照目錄後之業務規則。請參照買家需注意事 項。

MODERN & CONTEMPORARY ART Sunday, 29 May 2016, 11:00 am Grand Hyatt Hong Kong (Ballroom)

Lots 001 – 113

001

SANYU

(CHANG Yu, Chinese-French, 1901 - 1966)

Figure (Male) Ink on paper 45 x 28 cm Signed lower left Yu in Chinese in a square and SANYU in English EXHIBITED: A Legacy of Centuries – Exhibition of Sketches by Chinese Masters , Dimensions Art Center, Taipei, June 18 – July 9, 2005 ILLUSTRATED: A Legacy of Centuries-Exhibition of Sketches by Chinese Masters , Dimensions Art Center, Taipei, 2005, color illustrated, p. 27 Rita Wong, Catalogue Raisonné Drawings And Watercolors , The Li-Ching Cultural and Educational Foundation, Taipei, 2014, color illustrated, p. 108, included in the CD, plate no. D2384 The painting is to be sold with a certificate of authenticity issued by Dimensions Art Center, Taipei.

HK$ 65,000 - HK$ 90,000 NT$ 273,000 - NT$ 378,000 US$ 8,400 - US$ 11,600

常玉 人物﹙男﹚ 水墨 紙本 45 x 28 cm 簽名左下：玉 SANYU 展覽： 「百年遺存─中國名家素描展」，帝門藝術中心，台北，展期自 2005年6月18日至7月9日 圖錄： 《百年遺存─中國名家素描展》，帝門藝術中心，台北，2005，彩 色圖版，頁27 衣淑凡，《常玉素描與水彩全集》，財團法人立青文教基金會， 台北，2014，彩色圖版，頁108，收錄光碟，圖版編號D2384 附帝門藝術中心開立之原作保證書

Ravenel 13

002

TUNG HSIN RU

(Taiwanese, b. 1964)

Entropy 2011-2 2011 Oil on canvas 100 x 100 cm Signed on the right Tung Hsin Ru in Chinese, and dated 2011 in Chinese Signed on the reverse Tung Hsin Ru in Chinese, titled Entropy 2011-2 in Chinese , inscribed 100 x 100 cm, oil on canvas in Chinese EXHIBITED: Entropy – Tung Hsin Ru Solo Exhibition , VT Artsalon, Taipei, May 25 – June 22, 2013

HK$ 65,000 - HK$ 100,000 NT$ 273,000 - NT$ 420,000 US$ 8,400 - US$ 12,900

董心如 熵2011-2 2011 油彩 畫布 100 x 100 cm 簽名右側：董心如 二０一一 簽名題識畫背：董心如 熵2011-2 100 x 100 cm 油彩 畫布 展覽： 「熵 – 董心如個展」，非常廟藝文空間，台北， 展期自2013年5月25日至6月22日

003

T’ANG HAYWEN

(TANG Then Phuoc, Chinese-French, 1927 - 1991)

Composition with Yellow, Green and White (diptych) Acrylic and gouache on paper 29.5 x 42 cm Signed lower right T'ang in English and Haywen in Chinese PROVENANCE: Lin & Keng Gallery, Taipei Acquired from the above by the present owner in 1990s This painting is to be sold with a certificate of authenticity issued by Tina Keng Gallery, Taipei.

曾海文 黃綠白（雙聯幅） 壓克力 水粉 紙本 29.5 x 42 cm 簽名右下：T'ang 海文 來源： 大未來畫廊，台北 現有收藏者購自上述來源（1990年代） 附耿畫廊開立之原作保證書

HK$ 44,000 - HK$ 65,000 NT$ 185,000 - NT$ 273,000 US$ 5,700 - US$ 8,400 Ravenel 15

004

LV YANXIANG

(Chinese, b. 1984)

Private Museum Series 2, No. 1 2015 Oil on canvas, mixed media installation 60 x 70 cm

呂延翔

Signed on the reverse Lv Yanxiang in Chinese and dated 2015

2015 油彩 畫布 綜合媒材裝置 60 x 70 cm

EXHIBITED: Young Art Taipei, 2015 , Sheraton Grande Taipei, Taipei, April 24 – 26, 2015 Art in the City Festival, 2015 , Shanghai, September 11 – 14, 2015 This painting is to be sold with a certificate of authenticity issued by 1933 Contemporary, Shanghai.

HK$ 44,000 - HK$ 65,000 NT$ 185,000 - NT$ 273,000 US$ 5,700 - US$ 8,400

私人博物館系列二 第1號

簽名畫背：呂延翔 2015 展覽： 「台北國際當代藝術博覽會」，2015，台北喜來登大 飯店，台北，展期自2015年4月24日至4月26日 「藝術都市主題盛會」，上海，展期自2015年9月11 日至9月14日 附1933當代藝術空間開立之原作保證書

005 The "Private Museum" series is Lv Yanxiang’s first attempt to structure a complete

LV YANXIANG (Chinese, b. 1984)

Private Museum Series 2, No. 7 2015 Oil on canvas, mixed media installation 70 x 60 cm Signed on the reverse Lv Yanxiang in Chinese and dated 2015 EXHIBITED: Young Art Taipei, 2015 , Sheraton Grande Taipei, Taipei, April 24 – 26, 2015 Art in the City Festival, 2015 , Shanghai, September 11 – 14, 2015

expressionistic world of his own by deconstructing artistic form. The artist may speak of his obsession with collecting bits and pieces of the ordinary, but what "Private Museum" has truly questioned and explored is the pursuit of harmony and balance between the formal beauty of "museum" display and ideals of contemporary art. Expressionistic artworks are undoubtedly intimate revelations on the private universe, while "Private Museum" turns this extreme intimacy into "museum" exhibits displayed in the visual world of the viewer, thus demonstrating the profundity and significance of the artist’s sensory exploration. 「私人博物館」系列是呂延翔第一次嘗試以解構形式的方法來形塑自己的完整的寫意世界。藝 術家談及雖是癡於收集日常的零碎，但如何尋找以一種「博物館」陳列的形式之美與當代藝術 理念的契合之平衡點成為「私人博物館」探討的重心。「寫意」中無疑是私密的個人世界，而 將這「無限的私密」以「博物館」的形式陳列在觀者的視覺世界裡，藝術家的此次具有感官性 的探索著實是考究且有意義的。

This painting is to be sold with a certificate of authenticity issued by 1933 Contemporary, Shanghai.

HK$ 44,000 - HK$ 65,000 NT$ 185,000 - NT$ 273,000 US$ 5,700 - US$ 8,400

呂延翔 私人博物館系列二 第7號 2015 油彩 畫布 綜合媒材裝置 70 x 60 cm 簽名畫背：呂延翔 2015 展覽： 「台北國際當代藝術博覽會」，2015，台 北喜來登大飯店，台北，展期自2015年4 月24日至4月26日 「藝術都市主題盛會」，上海，展期自 2015年9月11日至9月14日 附1933當代藝術空間開立之原作保證書

Ravenel 17

006

XIA JUNNA

(Chinese, b. 1971)

Pop Concert 2001 Acrylic on paper 41.9 x 29.6 cm Initialed lower right XJN in English and dated 2001.4 ILLUSTRATED: Paintings by Xia Junna , Chin Der Jyu Gallery, Taipei, 2002, color illustrated, p.16

HK$ 50,000 - HK$ 80,000 NT$ 210,000 - NT$ 336,000 US$ 6,400 - US$ 10,300

夏俊娜 流行音樂會 2001 壓克力 紙本 41.9 x 29.6 cm 簽名右下：XJN 2001.4 圖錄： 《夏俊娜畫集》，沁德居畫廊，台北，2002， 彩色圖版，頁16

007

XIA JUNNA

(Chinese, b. 1971)

Spring of Life-2 2002 Watercolor on paper 53.7 x 39 cm Initialed lower left XJN and dated 2002 ILLUSTRATED: 2004 calendar-Collecting the Beautiful Years of Life , Chin Der Jyu Gallery, Taipei, 2004 This painting is to be sold with a certificate of authenticity issued by Chin Der Jyu Gallery, Taipei

夏俊娜 生命之泉 – 2 2002 水彩 紙本 53.7 x 39 cm 簽名左下：XJN. 2002 圖錄： 《2004年月曆－典藏生命的風華》，沁德居畫廊， 台北，2004年 附沁德居畫廊開立之原作保證書

HK$ 65,000 - HK$ 95,000 NT$ 273,000 - NT$ 399,000 US$ 8,400 - US$ 12,200 Ravenel 19

008

LI ZEHAO

(Chinese, b. 1939)

Prime of Life 1986 Oil on canvas 84.5 × 64.5 cm Signed lower left Zehao in Chinese and dated 1986.9

HK$ 65,000 - HK$ 95,000 NT$ 273,000 - NT$ 399,000 US$ 8,400 - US$ 12,200

李澤浩 風華正茂 1986 油彩 畫布 84.5 × 64.5 cm 簽名左下：澤浩 1986.9

009

WU JITAO

(Chinese, b. 1941)

Water Town in Suzhou 1994 Oil on canvas 60.5 x 80 cm Initialed lower left W.J.T. Signed on the reverse made by Wu Jitao in Chinese, titled Water Town in Suzhou in Chinese and dated year of 1994 in Chinese ILLUSTRATED: Wu Jitao's Oil Painting Collection , China International Art Publishing House Limited, 2006 color illustrated, p. 49

吳繼濤 姑蘇水鄉 1994 油彩 畫布 60.5 x 80 cm 簽名左下：W.J.T. 簽名畫背：姑蘇水鄉 吳繼濤作 一九九四年 圖錄： 《吳繼濤油畫集》，中國國際美術出版社，2006， 彩色圖版，頁49

HK$ 85,000 - HK$ 130,000 NT$ 357,000 - NT$ 546,000 US$ 11,000 - US$ 16,800

Ravenel 21

010

CHEN CHENGWEI

(Chinese, b. 1984)

Series on the Republic of China – Bright Eyes 2015 Oil on canvas 60 x 50 cm Signed lower right Chen Chengwei in Chinese and English, dated 2015 EXHIBITED: 2 2 116m +POP UP Painting Biennale , 116m Museum, Hangzhou, January 16 – February 16, 2016 Virtual versus Reality: Contemporary Oil Painting Exhibition , Beijing Hotel, Beijing, March 1 – March 15, 2016 2nd Invitational Exhibition of National Famous Young and Middle-Aged Realistic Artists , Ningbo Museum of Art, March 24 – April 10, 2016

HK$ 160,000 - HK$ 240,000 NT$ 672,000 - NT$ 1,008,000 US$ 20,600 - US$ 30,900

陳承衛 大民國 – 明眸善睞 2015 油彩 畫布 60 x 50 cm 簽名右下：2015 陳承衛 Chen Chengwei 展覽： 「116㎡+POP UP繪畫流動雙年展」，116平米方美術 館， 杭州 ，展期自2016年1月16日至2月16日 「虛實－當代寫實油畫藝術展」，北京飯店，北京，展期 自2016年3月1日至3月15日 「第二屆經典與傳承－全國中青年寫實繪畫名家作品邀請 展」，寧波美術館，展期自2016年3月24日至4月10日

011

CHEN CHENGWEI

(Chinese, b. 1984)

Series on the Republic of China – A Rosy Woman 2015 Oil on canvas 60 x 50 cm Signed lower right Chen Chengwei in Chinese and English, dated 2015 EXHIBITED: Chen Chengwei: Another Me, Today Art Museum , Beijing, October 10 – October 21, 2015 ILLUSTRATED: Chen Chengwei: Another Me 2012-2015 , Hebei Meishu Publishing, Hebei, 2015, color illustrated, p. 57

陳承衛 大民國 － 醉月迷花 2015 油彩 畫布 60 x 50 cm 簽名右下：陳承衛 Chen Chengwei 2015 展覽： 「陳承衛：另一個我」，今日美術館，北京，展期 自 2015年10月10日至10月21日 圖錄： 《陳承衛：另一個我2012-2015》，河北美術出版 社，河北，2015，彩色圖版，頁57

HK$ 160,000 - HK$ 240,000 NT$ 672,000 - NT$ 1,008,000 US$ 20,600 - US$ 30,900 Ravenel 23

THE ANCIENT CITY OF SPAIN YANG SAN-LANG Yang San-lang was born in Yunghe district in Taipei in 1907,

with warmness of sunlight shines above the white walls. It seems

Yang was one of the most important artists in the fields of oil

like a warm afternoon, but there is a plenty of red roof-top or

painting in Taiwan. Ever since he was young, Yang has expressed

green trees that one could hide underneath. The small houses are

passion towards the subject of art, hence the flowers in his garden

situated irregularly on the hill, your eyes travelled from the front

became the model in his paintings. Yang was determined to

of passionate red roof-tops towards the bright colors of white

become an artist that he disregard the unsupportive voice of his

on the houses, gradually moving towards the back of a pointy

family members, and worked for his ticket to Japan. In 1928, Yang

tower on the top of hill, where it connects to the sky in blue, the

San-lang graduated from the oil department of Kansai Institute of

extensive use of colors exhibited in this painting is plenteous and

Art and return to Taiwan. In 1932, Yang continued his studies in

harmonious.

France. For a long period of time, Yang favors landscape painting and particularly in favors of the far-reaching seascape, followed by

楊三郎1907年生於台北永和，楊三郎為台灣油畫界極重要的前輩之

still painting and figure paintings. His works have received several

一。楊三郎自求學期間最感興趣的科目是美術，家中的花簇便是自小

recognitions from "Taiwan Exhibition of Art " and "Shunyo-ten " in

習畫的標的，其喜愛藝術的程度是在家人反對他習畫的情況下，依然

Japan, furthermore, he and seven others, including Chen Cheng-

堅決努力賺取赴日留學的費用，立志成為畫家。1928年自關西美術學

po, Liao Chi-chun formed the Taiyang Fine Art Association in

院的西畫系畢業後返台，1932年繼續赴法遊學。長年習畫的他鍾愛風

order to promote the arts of Taiwan.

景畫，熱愛寫生且鍾情海洋，其次是靜物和人物畫。其作品屢次受到 「台展」、日本「春陽展」的肯定。1934年為推廣台灣美術，偕同陳

During the six to seven years of Yang’s studies in Japan, he has

澄波、廖繼春共八人一同創立「台陽美術協會」。

acquired the necessarily painting techniques as solid foundation, for the reason that Japanese educational style placed emphasis

楊三郎赴日習畫六、七年間使他奠定了深厚的基本繪畫技法，因日式

on rigorous style of teaching and life drawings, in which one

教育嚴謹並強調寫生，培養出細膩的觀察力；而日後作品則深受法國

learns to observe diligently. In later periods, Yang’s works are

印象派畫風的洗禮，逐漸將其融入楊氏風格，楊三郎或許向印象畫派

influenced by the French Impressionists and gradually evolved

大師們學習到能夠觀測瞬息萬變的光影技巧、以及運用鮮麗多變的色

into his painting style. Yang learned to observe the constantly

彩表現，但是他從小就懂得從生活周圍截取美好題材並將其入畫，而

changing lightings of nature; to apply colorful paints as seen in

所謂的楊氏風格其實代表了他對生活的態度，將美好的、浪漫的自然

Impressionists paintings, yet he already knew how to incorporated

風格一筆一畫的繪在畫布之上。

beautiful things into his paintings ever since he was young. The so-called Yang’s style of painting merely represented his attitudes

如同《西班牙古都》一般，正是他在晚年旅歐時期所留下的景致，整

towards living, by painting the beautiful, romantic naturalistic

幅作品呈現金黃色調，溫暖陽光灑在白色牆面，貌似炎熱的午後，卻

scenery onto his canvas.

能在需要時候躲在紅色屋頂或是綠色的大樹下庇蔭。參差不齊的小房 子佇立於山丘上，目光隨著前景熱情的紅屋瓦，到亮白色的房子逐漸

"The Ancient City of Spain" was painted in his later years when he

延伸至後方的制高點，那是一座尖塔，連接著廣闊的藍天，畫面色彩

travelled to Europe, the color of gold is scattered in this painting,

十分豐富且和諧。

012

YANG SAN-LANG (Taiwanese, 1907 - 1995)

The Ancient City of Spain

楊三郎

Oil on canvas 44 x 51 cm

西班牙古都

Signed lower right S. Yang in English This painting is to be sold with a certificate of authenticity issued by Fine Art Center, Tainan.

油彩 畫布 44 x 51 cm 簽名右下：S. Yang 附梵藝術中心開立之原作保證書

HK$ 160,000 - HK$ 200,000 NT$ 672,000 - NT$ 840,000 US$ 20,600 - US$ 25,800

Ravenel 25

013

YAYOI KUSAMA

(Japanese, b. 1929)

Bloom 1979 Felt pen on paper 24.2 x 27.2 cm Signed upper left YAYOI KUSAMA and dated 1979 Signed on the reverse Yayoi Kusama , titled Bloom in Kanji and dated 1979 With one seal of the artist This painting is to be sold with a registration card issued by the artist's studio.

HK$ 100,000 - HK$ 150,000 NT$ 420,000 - NT$ 630,000 US$ 12,900 - US$ 19,300

草間彌生 開花 1979 水性麥克筆 色紙 24.2 x 27.2 cm 簽名左上：YAYOI KUSAMA 1979 簽名題識畫背：1979 Yayoi Kusama 開花 鈐印左上：彌生 附草間彌生工作室開立之原作登錄卡

Ravenel 27

FISH YAYOI KUSAMA

Renowned Japanese female artist and writer Yayoi Kusama is

of quiet and serenity in the Tokyo mental institution, intent and

celebrated throughout the world for her unique, unconventional

focuses upon her artistic creation. The artwork encompasses

artistic style. This long-lived, productive artist has employed many

many materials and media, including gouache, pastels, ink and

media forms and art languages over the course of her career,

decoupage in the formulation of a tranquility and stillness. Grids

including easel painting, collage, performance art, installation art

encircle the small fish in the center while lines in black ink delineate

among others. Her artistic world, a universe of visual illusion and

the three-dimensional space of the intersecting grids to form a

fantasy, is constructed with repetitive dots, grids and patterns.

well of magnificent profound depth, the occupant of which quietly

New prospects for her artistic career arose after she moved to the

gazes upward into the outside world. This composition is a perfect

U.S in 1957. In the 1960s, she was already holding exhibitions with

embodiment of the artist’s mental state during this stage of her life.

contemporary Pop masters such as Andy Warhol. She began to develop a distinctive personal style during the early stages of her

知名日本女性藝術家、作家草間彌生以其特立獨行的風格享譽世界。這

artistic career using dots and patterns of high-contrast colors, and

位長壽多產的藝術家在多年的藝術生涯中實踐了多種媒介和語言，架上

the world has since been greatly enticed by her works. Kusama’s

繪畫，拼貼，行為藝術，環境裝置等都曾涉獵。視覺迷幻，重複的圓

style of dress also bears a striking resemblance to her artworks, as

點，網紋和圖案貫穿 她創作。1957年移居美國開啟了她藝術生涯的新

does her iconic exaggerated makeup. Kusama once explained that

局面。1960年代草間彌生便與安迪．沃荷等普普藝術大師共同展覽。

all these visual features originate from her world of fantasy, where

她在相當早的創作時期就發展出自己的風格，她善用高彩度對比的圓點

dots form boundless infinity nets that are representations of her

花紋，作品世界範圍內廣受歡迎。草間的打扮往往也與其作品有很高的

life.

同質性，誇張的妝容也是她的標誌之一。草間曾表示這些視覺特色都來 自於她的幻覺，她認為這些點組成了一面無限的網（Infinity nets），

Critics have attempted to categorize her into various schools of art,

代表了她的生命。

including feminist, minimalism, surrealism, Art Brut, Pop Art and abstract expressionism. However, according to Kusama herself, she

評論家把她歸類到相當多的藝術派別中，女性主義、極簡主義、超現

is simply an “obsessive artist.” From her works, one may observe

實主義、原生藝術（Art Brut）、普普藝術和抽象表現主義等都有草間

her efforts in trying to represent a type of subject matter that is

彌生的名字。但在她對自己的描述中，她僅是一位「偏執狂藝術家」

highly autobiographic, “psychological,” and sexual-oriented. In

（obsessive artist）。從她的作品中可以看到，她企圖呈現的是一種

1966, her performance art “Walking Piece,” which explores the

自傳式的、深入心理的、關乎性取向的內容。1966年，她的行為藝術

challenges Asian women face in the West, aroused extensive

作品《Wa l k i n g P i e c e》探討了亞裔女性在西方世界所面臨的挑戰與

discussions in the U.S. In 1973, Kusama left New York to return to

困境，在美國掀起不少的討論。1973年，她離開紐約返回日本。並於

Japan and checked herself into a psychiatric institution in 1977

1977年自願住進精神療養院，但仍堅持創作。

while insisting on continuing her artistic career. 有別於草間的其他作品，本作沒有奇異怪誕的巨大植物花卉張牙舞爪，

U n l i k e K u s a m a ’s o t h e r w o r k s , t h i s p i e c e d o e s n o t f e a t u re

平凡渺小的魚透出藝術家柔軟的內心世界。此作品創作於1980年，此

fantastically bizarre plants and flowers of monstrous animosity. The

時她已搬進東京的精神療養院3年，離開喧囂熱鬧的紐約藝術界，安靜

depiction of a small, very ordinary fish reveals the artist’s intrinsic

地創作。作品採用了多種材料和媒介，水粉，粉彩，墨和紙張拼貼，成

world of gentleness and compassion. She produced this piece in

就了作品安靜的氣氛。畫面中心的小魚被網格包圍，黑色的墨線延展了

1980, a time when she was already distanced from the boisterous,

網格的三維空間，好像一口華麗的深井，井中的居民安靜地註視著上面

lively art scene of New York and had already spent three years

的外面的世界。這與藝術家此時的心理狀態頗為契合。

014

YAYOI KUSAMA

(Japanese, b. 1929)

Fish 1980 Collage, pastel, gouache, with ink on paper 51.2 x 66 cm Signed lower right Yayoi Kusama in English and dated 1980 Signed on the reverse Yayoi Kusama in English, titled Fish in Kanji and dated 1980 ILLUSTRATED: Yayoi Kusama's Work Collections , Dynasty Gallery, Taipei, 2014, color illustrated, pp. 18-19 This painting is to be sold with a registration card issued by the artist's studio.

草間彌生 魚 1980 水粉 粉彩 墨 拼貼 紙本 51.2 x 66 cm 簽名右下：Yayoi Kusama 1980 簽名題識畫背：魚 Yayoi Kusama 1980 圖錄： 「草間彌生作品收藏集」，朝代畫廊，台北，2014，彩色 圖版，頁18-19 附草間彌生工作室開立之原作登錄卡

HK$ 260,000 - HK$ 400,000 NT$ 1,092,000 - NT$ 1,681,000 US$ 33,500 - US$ 51,500 Ravenel 29

015

PARK SEO-BO

(Korean, b. 1931)

Ecriture No. 930607 1993 Mixed media with Korean paper on canvas 41 x 32 cm Signed on the reverse PARK SEO-BO in Chinese and English, titled on the reverse Ecriture No. 930607 , inscribed 41 x 32 cm, MIXED MEDIA WITH KOREAN PAPER, <SEOUL> , dated 1993 , and initialed S.B.PARK

HK$ 240,000 - HK$ 400,000 NT$ 1,008,000 - NT$ 1,681,000 US$ 30,900 - US$ 51,500

朴栖甫 描法 No. 930607 1993 綜合媒材 韓國紙 畫布 41 x 32 cm 簽名畫背：朴栖甫 命題：描法 No. 930607 1993年作 PARK. SEO-BO <1931~> ECRITURE No. 930607 41 cm x 32 cm MIXED MEDIA WITH KOREAN PAPER 1993 <SEOUL> S.B.PARK

“PAINTING IS A WAY FOR ONESELF TO CULTIVATE THE MIND AND BODY VIRTUOUSLY.” – PARK SEO-BO

Park Seo-bo is one of the early advocates of abstraction and has

sublimated into his creation through a lengthy process, as the

been embracing the new vocabularies of expression for the past 60

canvas depicts forms that completely disappear as illusion appears

years, making him one of the most important artists in the history

and vanishes, reminiscence of the work of Cy Twombly. Park’s works

of modern Korean art. Park Seo-bo was a major exponent of the

have been exhibited globally at many prestigious museums and

monochrome art movement (dansaek-hwa) among fellow artists

galleries, including the Musée d'Art Modern in France. "Ecriture No.

including Ha Chong-hyun, Kim Ki-rin, Choi Myoung-young and

930607 " is a testament to Avant-Garde Asian abstraction.

Kwon Young Woo. In monochrome art, tradition and modernity were not treated as mutually exclusive, but were merged for the first

「繪畫能讓人修身養性。」 – 朴栖甫

time, the movement attempted to work with tradition in tandem with international trends during a time in history when Korea was

朴栖甫是韓國早期的抽象表現主義提倡者，過去六十年來不斷將新的表

striving for cultural solidarity. In particular, Park Seo-bo’s exploration

達語言運用於創作之中，使他成為韓國現代藝術史上最重要的藝術家之

of materials and the conceptual framework of abstraction in his

一。他也是單色畫運動的主要代表畫家，同屬此派的畫家還有河鍾賢、

"Ecriture" series demonstrated a wide and revolutionary departure

金麒麟、崔明永與權寧禹。單色畫運動發生年代時值韓國人民欲在文

from his previous work and have consistently resulted in influential

化上爭取團結，而此運動嘗試結合傳統並與國際趨勢接軌。傳統與現代

works widely heralded both in Korea and abroad.

在單色畫藝術中並非兩種互斥的元素，而是在此處交會融合。朴栖甫在 《描法》系列特別嘗試不同的材料與抽象概念架構，與過往的作品做出

"Ecriture No. 930607 " is a work that exudes serenity and harmony, it is indisputably entwined with that of contemporary Korean

大幅、革命性的區隔，無論在韓國還是國際上都是深具影響的作品。

abstract art while remaining quintessentially Korean. Its stylistic

《描法N o. 930607》散發寧靜和諧的氛圍，無疑是韓國當代抽象藝術

endeavor stresses the physical nature of materials and artworks,

的代表作品，同時仍保有韓國傳統。作品風格強調材料與作品本身的物

it seeks to establish itself between tradition and modernity, while

質特性，在擁抱韓國藝術的精華同時嘗試立足於傳統與現代之間。《描

simultaneously espousing an aesthetic that is in essence, Korean.

法》系列以傳統的韓紙為素材，使朴栖甫更能在不同的風格之間靈活漸

The effect of the "Ecriture" series is reminiscent of Hanji, a type of

變。他將與歷史及時代息息相關的元素融入作品，使作品色調也落在傳

traditional Korean paper, which further accentuates Park's ability

統與現代之間，使人聯想到朝鮮時代（1392-1910年）白瓷的灰白色。

to morph between styles. Its color palette too is situated between

尤其藝術家在漫長的創作過程中，將想法注入作品的靈魂，以帆布描繪

tradition and moder nity, evoking porcelain from the Choson dynasty (1392-1910), which was an off-white color (hi kumuri),

出不同的形式，呈現出虛無飄渺的視覺效果，使人想起塞•湯伯利（C y Twombly）的作品。朴栖甫的作品在全球各地的知名博物館與畫廊都有

these references to elements of history and time become a part

展出，包括法國巴黎現代藝術博物館。《描法No. 930607》是前衛派亞

of his work. In particular, the artist’s thoughts have been mentally

洲抽象畫的絕佳體現。

Ravenel 31

016

HSIAO CHIN

(Taiwanese, b, 1935)

Tutto è la stessa cosa 1961 Oil on canvas 100 x 80 cm Inscribed in the center valid and void, life and death, gain and lost are all the same thing in Chinese Signed lower left Hsiao in English, Chin in Chinese, and dated 61 Signed on the reverse HSIAO CHIN in English and Chinese, titled "tutto è la stessa cosa " in Italian and dated 1961

蕭勤 虛實 存亡 得失 皆為一物 1961 油彩 畫布 100 x 80 cm 題識中間：虛實 存亡 得失 皆為一物 簽名左下：Hsiao勤61. 簽名題識畫背：HSiAO CHiN "tutto è la stessa cosa" 蕭勤 1961

HK$ 240,000 - HK$ 400,000 NT$ 1,008,000 - NT$ 1,681,000 US$ 30,900 - US$ 51,500

Hsiao Chin began to learn painting in 1951. He was greatly

to both the universe and China, my motherland ." Critics believe

influenced by Western modern artistic thought after he traveled

this is exemplary of the "Hsiao Chin style" that alludes to a

t o E u ro p e i n 1 9 5 6 , a n d w a s l a t e r a n i m p o r t a n t p i o n e e r o f

sense of "temporal stillness and infinity." Hsiao effectuated new

"Moder nization of Art," the first wave of Taiwanese avant-

possibilities and styles in Chinese painting with his use of Western

garde after the war. Hsiao went on to found Ton Fan Art Group

colors and pigments and instigated a revolution that resonated

in Taipei, the same period in which he attempted to further

throughout the contemporary art scene. Through extraordinary

explore integrations between Chinese calligraphy and European

persistence and constant self-reflection, Hsiao has engaged in a

non-figurative art whilst still grounded in Taoist thinking, an

lifelong pursuit of harmony between heaven and earth as well as

approach he had already began to practice in Europe. By creating

the attainment of a boundless realm that transcend the limits of life

connections between the forces of the universe and the vigor of

and death.

life, the artist enables his viewers to experience a strong sense of empathy, just as if they could visually observe the macroscopic

蕭勤在1951年開始習畫，1956年赴歐之後受到西方現代藝術思潮的衝

world and comprehend its profound meanings. An artist’s creation

擊，成為戰後台灣第一波前衛思潮「美術現代化運動」的重要先鋒。

is veritably the creator of man’s spiritual civilization.

之後在台北創辦「東方畫會」，把在歐洲留學期間，以道家思想為支 撐、將中國書法與歐洲非具象藝術相結合探索。畫面處理連結宇宙與

This work was created while Hsiao was emulating the essences

生命感同身受其能量所在，如親臨宏觀世界，意味深邃。藝術家的創

and techniques of Western abstract art. In the 1960s, he began

作是人類精神文明的創造者。

to demonstrate an interest in Zen and Taoism and started s e e k i n g a r t i s t i c i n s p i r a t i o n f ro m C h i n e s e c u l t u re , t h e re b y

作品正是蕭勤以西方抽象藝術為師期間，在1960年代開始對禪、道、

developing a creative style that was quite distinct from Western

老莊思想產生興趣，尋求中國文化傳統中的養分，開始發展出有別於

mainstream abstract graphics. His works are the confluence

西方抽象主流圖式的創作風格。作品融會了西方美學、東方哲思以及

of Western aesthetics, Eastern philosophies, and explorations

對天體物理和宇宙現象的探索，隨著個人生命歷程的起跌變化及內省

into astrophysical and cosmic phenomena. With the gradual

歷練，創作出面貌豐富多樣的藝術作品，致力發掘人類精神生命的深

accumulation of personal experiences and reflections, he began

刻意涵。蕭勤說：「經由老莊及禪的思維，延展對宇宙與我來自中國

creating a wider variety of artworks in hopes of exploring the

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

profound meanings of man’s spiritual life. Hsiao once said that,

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

"Through the philosophies of Laozi, Zhuangzi and Zen, I endeavor

可能及風格，進而引起共鳴。通過繪畫及自我意識的千錘百煉，蕭勤

to achieve the infinite extension of my love of and attachment

一生不斷追求天人合一、超越死生局限的廣闊人生境界。

Ravenel 33

017

CHIHUNG YANG

(Taiwanese, b. 1947)

Plus 2004 Acrylic on canvas 127 x 96.5 cm Signed on the reverse Chihung Yang in English, titled Plus in English and dated 2004 PROVENANCE: O’Hara Gallery, New York ILLUSTRATED: Chihung Yang, O'Hara Gallery, New York, 2006, color illustrated This painting is to be sold with a certificate of authenticity signed by the artist and issued by O'Hara Gallery, New York.

HK$ 150,000 - HK$ 240,000 NT$ 630,000 - NT$ 1,008,000 US$ 19,300 - US$ 30,900

楊識宏 加 2004 壓克力 畫布 127 x 96.5 cm 簽名畫背：Chihung Yang Plus ©2004 來源： 歐哈拉畫廊，紐約 圖錄： 《楊識宏》，歐哈拉畫廊，紐約，2006，彩色圖版 附紐約歐哈拉畫廊開立藝術家親筆簽名之原作保證書

Ravenel 35

SLIDE

HWANG JYI

Hwang Jyi is good at portraying people in his works, and has

黃楫擅長以人為主體，且衍生出一系列如夢境般超現實的繪畫，他曾

developed a series of dreamlike surrealist paintings, he once

說「作夢不需要勇氣，要把夢實現則需要勇氣」。的確，這種似是而

said "there is no need of courage to dream, but one will need to

非的畫面經常出現在夢中，夢裡的詭異人物、怪誕地點、表情與其他

have courage to realize the dream ", indeed, theses fantasized

東西的組合並非經常能夠將其合理化。黃楫利用畫面結構的反置、拼

plausible scenes often appear in dreams; the combination of

接、錯置等手法確實的拼湊出人在夢裡經常零星的片段重組在同一夢

odd characters, bizarre scenes, locations, gestures taking place

境當中，既像幻覺卻又真實。

in dreams are irrational. Hwang Jyi carefully constructed the canvas by misplacing, dislocating, and mixing the fragments of

在《幻燈片》這幅作品當中，上下兩邊皆繪有幻燈底片的邊框，猶如

scattered hidden pieces together into one, it is surreal yet reality

一張幻燈片，而幻燈片本身預告著它是一段記憶，一個短暫停留在腦

simultaneously.

海中重要的片刻。畫面中匯集了三個人，左方的男子身著一席白袍、 臉上也塗滿白色顏料，雙眼閉目，右手輕輕舉起卻消失在漆上白色的

In the painting of "Slide ", the top and the bottom is painted

樹幹之中，與它對立的正是對面的黑面男子，雖然雙眼緊閉，卻露出

with film-like borders making it a resemblance of a slide; a slide

好奇的上半身探頭作勢張望。唯有一位配戴面具的男子，以天藍色披

indicates its association with a piece of memory, a memorable,

巾掩飾，將其大大的雙眼睜開，面無表情的似乎在尋找什麼，畫面中

temperamental moment, yet critical to the mind. The painting

的兩隻鳥悠然自得，與世無爭的樣貌，是陶醉在一場美夢呢?還是不

gathered three men, with one of the man dressed in white on the

想面對殘酷現實呢?

left side, with his face covered in white paints and his eyes closed, slightly raising his right arm towards the tree bark, then fading

黃楫曾表示對於馬克斯．恩斯特（1891-1976）的作品表示喜愛，恩

out into the white background. On the opposite side, there is

斯特是一位超現實主義的德國籍藝術家。而在《幻燈片》白衣男子的

another man in black appeared curiously with his upper body

左方有一片色彩繽紛的不規則拼接而成的幾何圖形，與恩斯特1966年

slightly slanted towards the outside, yet with his eyes shut not

的作品《燕巢》極為相似，是否暗自保留了一塊給自己敬佩的大師一

being able to see anything. A man wearing a mask is wrapped in

個祕密空間?

sky blue robe, surprisingly with both of his eyes wide open, he has no facial expressions but seems to be searching for something.

黃楫以戲劇性的方式將人物、衣著、妝容、燈光等佈置成舞台劇一

There are two bird-like creatures situated casually, freely on the

般，好似一場默劇，臉戴面具是常見於默劇中的道具之一，誇張的眼

canvas, are they having a beautiful dream or choosing not to face

神顯於潔白的面孔，靠著演員們逗趣的演技完成演出，而在《幻燈

the cruel reality?

片》中，即使在靜態的畫布上彷彿能看到劇中人物即將準備跳至下一 張幻燈片，接著演出。這一切非邏輯性的鋪陳，也讓作品擁有了多重

Hwang Jyi has expressed his admiration of Max Ernst (1891-

解讀的可能。

1976), one of the leading Surrealists born in Germany. In the background of "Slide ", there is a colorful area combined in patchwork pattern in geometric shapes situated behind the man dressed in white on the left-hand side, one cannot help to notice the resemblance of the work of Ernst "A Swallow’s Nest" in 1966, does this represent that Hwang has kept a secret space for the great master like Ernst?

The mise-en-scène in Hwang Jyi’s painting is filled with theatrical lighting, make-ups and dressings, as if they are presenting a mime show, wearing a mask is one of the typical prop being used in the show; exaggerated expressions are shown upon pure white skin, actors rely heavily on their acting to bring out the show. Even though the painting of “Slide ” is situated in stillness, it is almost possible to see that the slide show could move to the next slide in order to complete the show. Because of a series of irrational combination and fragments of elements are placed in one scene, the painting is open to multiple interpretations.

Max ERNST, A Swallow's Nest , 1966, Oil on canvas, 134 x 168 cm 馬克斯．恩斯特 《燕巢》 1966 油彩 畫布 134 x 168 cm

018

HWANG JYI

(Taiwanese, b. 1953)

Slide 1992-1996 Oil on canvas 200 x 162 cm Signed lower right Jyi in Chinese and dated 1992-96 Signed on the reverse Hwang Jyi in Chinese, titled Slide in Chinese, and dated 1992-96 ILLUSTRATED: Hwang Jyi , Galerie Elegance, Taipei, color illustrated, 1996, pp. 174-175 & p. 211

HK$ 220,000 - HK$ 320,000 NT$ 924,000 - NT$ 1,345,000 US$ 28,400 - US$ 41,200

黃楫 幻燈片 1992-1996 油彩 畫布 200 x 162 cm 簽名右下：楫1992-96 簽名畫背：幻燈片 黃楫 1992-96 圖錄： 《黃楫畫冊全集》， 愛力根藝術有限公司，台北， 1996 ，彩色圖版，頁174-175與頁211

Ravenel 37

019

PANG JIUN

(Chinese, b. 1936)

Crossing the River 2010 Oil on canvas 60.6 x 72.7 cm Signed lower right Pang Jiun in Chinese and dated 2010 With one painted seal of the artist This painting is to be sold with a certificate of authenticity signed by the artist.

HK$ 180,000 - HK$ 280,000 NT$ 756,000 - NT$ 1,176,000 US$ 23,200 - US$ 36,100

龎均 山色有無中 2010 油彩 畫布 60.6 x 72.7 cm 簽名右下：龎均 2010 手繪鈐印右下：均 附藝術家親筆簽名之原作保證書

“BY CONTRAST, WITH ITS GRAND MOUNTAINS AND DEEP WATERS – MY SKETCHING EXPERIENCE IN HUANG SHAN (HUANG MOUNTAIN) – CHINA IN GREY IN TONE, WHICH DIFFICULTIES IN PAINTING. THE REASON MY LANDSCAPES WERE POPULAR DURING THE CULTURAL REVOLUTION WAS PRECISELY THAT THEY HAVE A FINE GRASP OF THE GREY TONE, FOR WHICH THE NAME PANG JIUN WAS KNOWN. TO MY OBSERVATION, THE GRANDS MOUNTAINS AND DEEP WATERS OF CHINA ARE DEFINITELY TO BE PORTRAYED IN GREY AND THE GREY, CONSONANT WITH THE SENTIMENT AND ETHEREALITY OF CHINESE POETRY AND THE RESERVED AND LOWKEY STYLE OF CHINESE PEOPLE, REVEALS THE SPIRITUALITY OF CHINESE CULTURE.” – PANG JIUN

「大陸是屬於大山大水的情景，有一種灰調子，我在黃山寫生時就體驗到為什麼國畫有皴法的產生，但還 有一個難題，就是在這個灰調子的表現上。我在文革時的風景畫就是因為這個灰色調的表現而被人喜歡。 大家都知道有一個畫灰調子的龎均。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飄渺，和中國人所隱藏的情感收斂深沉，這都是同一個精神性 。 」 – 龎均

Ravenel 39

020

PANG JIUN

(Chinese, b. 1936)

Spring River 2013 Oil on canvas 71.5 x 90 cm Signed lower right Pang Jiun in Chinese and dated 2013 With one painted seal of the artist

HK$ 280,000 - HK$ 420,000 NT$ 1,176,000 - NT$ 1,765,000 US$ 36,100 - US$ 54,100

龎均 灕江春色 2013 油彩 畫布 71.5 x 90 cm 簽名右下：龎均 2013 手繪鈐印：均

"Spring River" testifies to Pang Jiun’s ingenious depiction

《灕江春色》完全表現出龎均在描繪山水上的才情。畫中前景枝

of a mountainous seascape. As the foliated branches of the

枒新綠、繁花滿樹，以美麗的姿態盛開著洋紅色的花，象徵春天

flowering tree in the foreground beautifully imbued with

已然來到。從此處望去，湖面展開無邊無際的勝景。有一名男子

magenta pinkish florets signifying the arrival of Spring opens

平和的划著舢板，其身後一大片山景，以畫家獨特的灰調子勾勒

up to a boundless magnificence view of the waterscape. A

而出。水面清澈純淨、波光瀲灩，倒映出千里之外的山景。台灣

man sails peacefully on a sampan against a mountainous

評論家曾長生認為，龎均聰慧地吸取古今中外的繪畫優點，創建

backdrop rendered in the artist’s signature tones of grey. The

其油畫藝術的特質。曾長生寫道：「龎均在研究中，既避免了他

water so pure and clear that it almost sparkles as it ripples

的長輩中的一些人堅守古典寫實藝術，摒棄現代藝術的偏頗態

with the reflection of the mountainous scene far away into

度，也沒有像另一些人一昧盲目崇拜西方現代主義，而全盤否定

the distant. Art critic Pedro Tseng posits "Pang Jiun as a

古典遺產那樣激進。他在古典與現代之間尋找共同點，吸收他們

researcher shuns both the older-generation preference of

各自的長處，為自己的創造所用。同時，在油畫和中國民族藝

realist depiction to modern art, and a blind worship of the

術，特別是水墨寫意畫之間，他也逐漸地認識到，兩者雖是不同

Western modernism which radically denies the classical

的體系，但也有融合的可能。他在西方近現代藝術大師的創作

heritage. He relates the classical to the modern, and imbibes

中，看到他們追求的寫意性、象徵性和表現性，正是中國水墨文

their peculiarities to his advantage; in the process, he

人畫的特長。龎均在研究了西方現代油畫的發展過程和中國水墨

also discovers the thread running through oil painting and

文人畫的理論及實踐之後，明確地指出，加強寫意性中國油畫創

Chinese painting, particularly the Xieyi ink painting, despite

新的重要途徑。」（節錄曾長生〈寫實主義、印象派、東方表現

their different systems. In the modernist masterpieces, he

─從現象學探龎均繪畫語言的跨文化思維〉一文）

perceives the qualities of Xieyi, symbolism, and expressivity indicative of those of the literati painting. His examination of the theory and practice of both the modern Western oil painting and the Chinese ink painting leads to his conclusion that a highlight of Xieyi is one of the most important ways to regenerate Chinese oil painting. " (Pedro Tseng, ‘Realism, Impressionism, and Eastern Expression: A Phenomenological Approach to the Cross-cultural Thinking in the Language of Pang Jiun’s Painting.)

Ravenel 41

021

JU MING

(Taiwanese, b. 1938)

Taichi Series 1995 Bronze, edition no. AP 4/14 22.7 (L) x 20 (W) x 36.2 (H) cm Engraved on the bottom Ju Ming , numbered AP 4/14 and dated year of 95 This sculpture is to be sold with a certificate of authenticity signed by the artist and issued by Lee Chi Creativity Co., Ltd, Taipei.

HK$ 360,000 - HK$ 550,000 NT$ 1,513,000 - NT$ 2,311,000 US$ 46,400 - US$ 70,900

"Tai Chi" is a type of martial art that is seemingly gentle and allows oneself to realize self-cultivation through the movements of entire

朱銘 太極系列 1995 銅雕 版次自4/14 22.7（長）x 20（寬）x 36.2（高）cm 簽名雕刻下方：朱銘 自4/14 '95 附李記創意股份有限公司開立及藝術家親筆簽名之原 作保證書

body. The essence of the Tai Chi lies at experiencing one’s physical movement, one movement is balanced with stillness, it is calming and slowly moving and yet possesses an tremendous strong sprits at the same time, overall one’s mind is situated in a peaceful and self-realization stage despite the energy flows through the body.

According to Ju Ming’s teacher, Yuyu Yang once said that “Ju Ming

had been weak when he was young, and suffered from the pain ”, yet these painful experiences made him stronger, as exhibited in his sharpen carvings from his works. Ju Ming believed that both sculpting and practicing Taichi originated from the same source of self-cultivation and self-exploration. From practicing Tai Chi to becoming an artist in sculpting, this journey did not go smoothly, but Ju Ming was able to carve his way out in becoming one of the internationally renowned artists.

Ju Ming had held his second exhibition at the Central Art Museum in Tokyo in 1978, in which "Taichi Series " attracted international attention for the first time. The forms of Tai Chi sculptures are straightforward and empowered with force, it is well-balanced. Ju Ming regarded art as "self-cultivation". The artist's sculptures in the Taichi Series perfectly represent his high-level realm of following natural laws in which one shall detach from the surface, leaving materialism behind and focus on the essence of life. 「太極拳」本是一種看似溫柔、能修身養性的運動，太極的精神就在於 能夠體會身體上的變化，柔中寓剛，身體雖有不斷的在變動但心境於一 動一靜之中達到身心合一的狀態且泰然自若。其師楊英風曾表示：「朱 銘自幼體弱多病，並且經歷無數苦難的日子」，然而這些困境使得朱銘 更加茁壯，就如同那銳利的刀工呈現在他的作品之中，對朱銘而言，練 習太極拳和雕塑都同源於自我修煉與探索，朱銘藉由習拳一路到雕刻太 極系列的作品，不僅僅刻寫出他的心路歷程也成功刻出了通往揚名國際 雕刻大師的路。1978年，朱銘二度赴日本東京中央美術館舉辦展覽，他 的「太極系列」首度在國外發表就深獲大家的追捧。太極作品的形象簡 潔有力、剛柔並濟，朱銘曾經將藝術比作「修行」，他的「太極」系列 雕塑作品，完美地體現了藝術家道法自然、物我相忘的高度藝術境界。

Ravenel 43

THE MONUMENTAL PORTRAIT OF HUMANITY CHIU YA-TSAI

「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，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

Chiu Ya-tsai's works predicates upon ideal archetypes in human

individual mindset. In essence, Chiu's synthesizes traditions

nature, his portraits seem to accrue a certain public grandeur

of Classical Chinese portraiture with Western elements,

reminiscence of historical personages. There is always a hint of

which results in parallels between his characters and those of

the old world in Chiu's art as he believes that humanity can be

Modigliani. It is Chiu Ya-tsai's old-fashioned faith in history

best portrayed by the ancient Confucius and the great figures

and the wisdom of great men that prompt his paintings.

from classic literatures such as Shakespeare and Dostoyevsky.

Chiu's figures are truly portraits in that they are always poised

"Clown" is imbued with an air of nostalgia as the dark

and limited in body language, which work magnificently in

opaque backdrop executes the brushstrokes encompassing

portraying the precarious nature of man's being with a touch of

the complexion of the central man, ascetically adorned with

mystery.

burgundy amber-red on his cheeks and chin below a band of coloring covering his brow that is reminiscent of the face-paint

邱亞才的畫作表現的是人性的原型，他的人像畫似乎流露出某種來

of a clown. The calmness portrait by the central melancholic

自歷史人物的共通光采。他的畫作總是潛藏古老時代的氣息，因為

figure appears to be indulging in a moment of deep rumination

他相信古聖孔子乃至於莎士比亞和杜斯托也夫斯基的經典之作，對

in the nest of his malaise; perhaps there is a deeper message

人性的刻畫最為深刻。《小丑》充滿懷舊的情調，畫筆刷出晦暗的

underneath the external appearance of this specific clown that

黑色背景，襯托畫面中央人物的面部。以勃艮地琥珀紅繪於眉毛下

the artist attempts to convey. In essence, Chiu deliberately rid

方，人物的雙頰和下巴以同色壓抑點綴著，引人聯想起飾以彩繪的

his central figures in his portraits of excessive facial emotions

小丑面部。在這幅沉靜的人像畫中，主角似乎深陷自身莫以名狀的

as he regards expressions as fickle with a tendency to deviate

不安而進入沉思狀態。隱藏在小丑的外表之下，畫家也許想要傳達

and fluctuates continuously. Instead, the artist strived to paint

出某種更加深刻的訊息。邱亞才有意不賦予畫中人物太多的面部表

the inner spirit and temperament of his subjects. Chiu's figures

情，因為他認為人的表情變化無常，捉摸不定。他想要捕捉的是人

are in essence his personal unique idealized visions with

物的內在性情和氣質。邱亞才筆下的人物是理想的化身，具有精煉

essences of refinement as he instills a narrative quality to these

的特質，反映出他對於每位複雜角色的主觀陳述。

complex characters. 邱亞才在追求亂中有序、畫中有序的精神追求畫作的秩序，而這些

The artist yearns for orders within the composition and out of

人物原型意境幽遠，讓他的肖像畫令人一見難忘。邱亞才堅持其創

the chaos and the unreadable emotions of these memorable

作精神承自唐宋的人物畫，彷彿古代畫家對文士高官的描繪，畫中

archetypes results in Chiu’s unforgettable portraits. Chiu

人物的表情和姿態，也傳達了他們的個性和思想。邱亞才揉合了中

insisted that the spirit of his art is a derivative of the figure

國肖像畫傳統和西方繪畫元素，因此他的人物與莫迪里亞尼的人物

paintings dated to the Tang and Sung Dynasties. Similar to

極為相像。邱亞才創作的動力來自對於歷史的傳統虔信，以先賢的

the ancient depictions of scholars and officials, the faces and

智慧為本。在他的畫中，人物永遠冷靜自持，沒有太多動作，精采

gesture of his subjects are connotative of personality and an

傳達出人類在本質上的游移和一絲神秘。

022

CHIU YA-TSAI

(Taiwanese, 1949-2013)

Clown 1992 Oil on canvas 116.5 x 91 cm Signed lower right Chiu Ya-tsai in Chinese and dated 92 ILLUSTRATED: Chiu Ya-Tsai , Galerie Elegance, Taipei, 1993, color illustrated, no. 11

HK$ 500,000 - HK$ 750,000 NT$ 2,101,000 - NT$ 3,151,000 US$ 64,400 - US$ 96,600

邱亞才 小丑 1992 油彩 畫布 116.5 x 91 cm 簽名右下：92邱亞才 圖錄： 《邱亞才》，愛力根畫廊，台北，1993，彩色圖版，編 號11

Ravenel 45

023

CHIU YA-TSAI

(Taiwanese, 1949 - 2013)

Wandering Man 1991 Oil on canvas 131 x 98 cm Signed lower left Chiu Ya-tsai in Chinese PROVENANCE: Sale of Sotheby’s, New York, March 17, 2008 Private collection, Asia

HK$ 550,000 - HK$ 800,000 NT$ 2,311,000 - NT$ 3,361,000 US$ 70,900 - US$ 103,100

The ambience resonating from the central beaded man in "Wandering Man" has a precise depiction of facial features of an almond–shaped eyes, prominent cheekbones, and nose reminiscent of the somewhat expressionist portraits prevalent during the Tang Dynasty in China. Chiu Ya-tsai’s artistic approach have an indefinable quality to them that resembles both Chinese and Western styles. The artist’s paintings are also characterized by effective use of the traditional Chinese

baimiao monochromatic brush-line technique, in which simple lines delineate the facial features, bringing across the spiritual

邱亞才 流浪的男子 1991 油彩 畫布 131 x 98 cm

essence of the person portrayed without being constrained by formal conventions or overburdened with excessive detail.

Chiu Ya-tsai’s artistic talent derived in no small part from his own sorrows; he once commented that all of the figures depicted in his paintings had something of himself about them: the struggling artist, the rootless wanderer, or the unsuccessful businessman. These lonely images provide the

簽名左下：邱亞才

viewer with clues as to the artist’s own inner world. A lover of

來源： 紐約蘇富比拍賣，2008年3月17日 私人收藏，亞洲

literature who also wrote as a form of self-expression, Chiu was able to condense his feelings into a series of paintings. The individuals shown in these paintings are never wholly broken down by life; although sorrow or sadness may appear on their faces, they always maintain a steady calmness in the face of the problems that the world throws at them, and the overall effect is one of refined, gentlemanly bearing. The artistic lexicon of Chiu Ya-tsai’s paintings reflects in microcosm the life of the artist himself. Through his brushstrokes, Chiu was able to express his own identity, becoming a "storyteller" whose own tale is told through the figures in his portraits. It was precisely this lonely, unique spirit that gave Chiu Ya-tsai’s art its power. 《流浪的男子》的畫面中央是一名蓄鬍男子，杏眼圓睜、顴骨和鼻 部突出，面部表情經過精心描繪，畫風頗似盛行於唐朝的表現派人 像畫。邱亞才的藝術表現手法，隱約具有此類人像畫的特質，將中 國與西方的風格兼容並蓄。他也在畫作中納入傳統中國畫的白描技 法，運用簡單的線條勾勒臉部特徵，既不受形式主義的限制，也不 承載過多的細節，讓畫中的人物自由展現靈魂中的本性。邱亞才的 才氣來自於他的哀愁，他也曾說過畫中人物都是他想像得來；懷才 不遇的藝術家、漂泊浪跡的男子或是失意的商人，這群孤獨的身 影，在在都成了觀者去一探藝術家內心世界的線索。他鍾愛文學， 暢情於寫作，再將他的情感化成一幅幅人物畫，而畫中人物總是不 卑不亢，雖偶有哀傷滿容或是冷靜的悲痛傷感，但卻總是悠悠平靜 的淡然處世，反倒顯得優雅從容。邱亞才的繪畫語言是他周遭生活 的縮影，透過畫筆表述自我，說書人般的講述一篇篇故事，是畫中 人物的風雪，更是邱亞才的獨白，而正是這些孤寂的靈魂，成就了 他的藝術精神。

Ravenel 47

SUDDENLY SPRING AGAIN WALASSE TING

Starting from the 1970s, Walasse Ting’s creative style veered

flowers encompassing all the colors of the universe, blossoming

from his earlier monochromes to scenes filled with flourishing

throughout the seasons. The third garden, retained exclusively

colors of bright purple and red. The inspiration and source of

by the artist Walasse Ting, is where everything in the world

his creativity revolved around the most important theme of his

follows his every command. " Here in "Ting’s Garden," the colors

life – "women." This distinguishing feature formed in the years

of life serve as support for all the prosperity humans encounter

that followed and reached its zenith in the 1980s to gradually

in this world, allowing the natural accumulation of flowers, fruits,

become the artist’s emblem and his legacy. The soft and delicate

lethargic cats and landscapes to decide their own place in life,

"women" and "flowers" in this piece signify the beauty of life

while also allowing us to reassess the artist’s works of spring and

and youth. Time and time again, in his later canvas works, it is

beauty.

possible to see the rapid flow of his brush and the reversals of colors that are swift like the waves. The passage of time only

丁雄泉自1970年代起，其繪畫風格一改早年的單色創作，而是呈現

added sophistication to his work as the rich colors fell onto the

一副姹紫嫣紅春滿色的景象。將創作中的靈感來源、作品題材圍繞在

canvas, filling the gaze of the viewer with intense brilliance.

他生命中最重要的主題——「女人」。這一特色在其後儼然成形，而

Walasse Ting’s world seems to require no changes of the seasons

這股創能量在1980年代達到高峰，逐漸成為藝術家的標誌，以致傳

except for an accumulation of spring in all her glory. The artist

世。作品中柔情似水的「女人」與「花朵」為此題材渲染生命年華

himself is also akin to a marvelous flower that leaves each viewer

和青春的美好。再度看過這些晚期布上作品，其用筆奔放流暢，設色

in absolute awe.

翻轉快速如波濤。在經歷歲月的洗練後，濃彩墜落其間，滿眼盡是 艷麗。丁雄泉的世界似乎不需要四季的更迭，只預留一片春意盎然。

Artists have a way of romanticizing everything, from colorful

其人也似一朵不凡的花，在每一位觀畫者心中都留下了濃豔的驚鴻一

parrots and flowers to fishes swimming in the water, as though

筆。

they are wandering in a garden of bliss. This piece fully expresses the essence of the arrival of spring through the swaying fluidity

藝術家對世間萬物的浪漫情懷，無論是多彩的鸚鵡或花朵，還是水中

achieved by the acrylic paint, the striking lines of the oil crayons

嬉戲的遊魚，都好似徜徉於一座快樂的花園。作品很好地表達出春至

that convey the faces of the two beautiful ladies on a canvas

的意境，畫面中那流動性高而易揮灑的壓克力顏料與直率勾勒的油蠟

of bright colors, and the rich but elegant hues that reveal the

筆細線，艷麗底色襯著兩位美女的面頰，濃烈卻雅致的用色更顯畫中

creaminess of the women’s skin. The woman on the right has

女人嫩白透粉的肌膚。手持折扇，青鳥的圖案將其半面遮蔽，僅露出

half her face covered by the blue bird on her handheld fan, yet

一雙迷濛大眼的嬌羞神態，與身旁那全然享受春意的女子相互依襯，

her wide, dreamy and shy eyes, together with the other woman

顯示出對這突如其來的春天，兩種截然不同的欣賞態度。

who appears to be completely immersed in the lively spring, reveal two distinctive appreciations for the sudden appearance

正如藝術家之女丁迷雅撰文所述，丁雄泉的作品令人「感悟到一股與

of spring.

生命互動的活躍氣息」。她曾解釋道：「在這裡有三座花園中。第一 座花園，花草樹木生機盎然、蓬勃地滿布於遼闊的戶外，踏過青草綠

As the artist’s daughter Mia Ting described in her essay,

地的門檻，你就跨進第二座花園，是異國情調的繽紛，宇宙間各種色

Walasse Ting’s creations give viewers "a vibrant atmosphere

彩的花朵，四季不斷的開放。而第三座花園，是藝術家丁雄泉所獨

that imposes interactions with life itself." She once explained

自擁有的，世間萬物都聽從他的使喚。」以一切生命中的色彩為支撐

that, "Here are three gardens. In the first garden, the trees

力，人在世俗邂逅這一片繁華，讓花鳥、瓜果、倦貓、山水自然地疊

and flowers blossom and the spacious outdoors is full of life.

加在一起，用其戲筆來決定置身的角度，就此「丁氏花園」也讓我們

Stepping over the threshold of lush green grass, you enter the

重新審視其春色美人作品的機會。

second garden, which is full of exotic splendor and filled with

024

WALASSE TING

(Chinese-American, 1920 - 2010)

Suddenly Spring Again 1988 Acrylic and crayon on canvas 70 x 100 cm Signed on the reverse Ting , titled Suddenly Spring again , inscribed Amsterdam and dated 8 December, 1988 PROVENANCE: Private collection, The Netherlands Christie's Sale, Paris Private collection, Asia

HK$ 850,000 - HK$ 1,300,000 NT$ 3,571,000 - NT$ 5,462,000 US$ 109,500 - US$ 167,500

丁雄泉 突然又是春天 1988 壓克力 蠟筆 畫布 70 x 100 cm 簽名畫背：Suddenly Spring again Ting 12-81988 Amsterdam 來源： 私人收藏，荷蘭 佳士得拍賣，巴黎 私人收藏，亞洲

Ravenel 49

025

CHU TEH-CHUN

(Chinese-French, 1920 - 2014)

Abstrait 1961 Acrylic and gouache on paper, mounted onto canvas 55 x 36.5 cm Signed lower right CHU TEH-CHUN in Chinese and English ILLUSTRATED: Solo Exhibition of Chu Teh-Chun , The Ueno Royal Museum (catalogue), Tokyo; Thin Chang Corporation, Taipei, 2007, color illustrated, p. 124 To be included in the catalogue raisonné de l'oeuvre prepared by the artist's studio.

This painting is to be sold with a certificate of authenticity signed by the artist's wife, Ching-chao Chu.

朱德群 抽象 1961 壓克力 水粉 紙本裱於畫布 55 x 36.5 cm 簽名右下：朱德群 CHU TEH-CHUN 圖錄： 《大象無形—朱德群展》，上野之森美術館，東 京；馨昌股份有限公司，台北，2007，彩色圖版， 頁124 此作品將收錄於朱德群工作室編纂中的《朱德群作 品編年目錄》（資料提供：朱德群工作室、朱董景 昭女士） 附藝術家妻子朱董景昭女士開立之原作保證書

HK$ 600,000 - HK$ 900,000 NT$ 2,521,000 - NT$ 3,782,000 US$ 77,300 - US$ 116,000

「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 51

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 A B S O R B S W H AT H E S E E S I N N AT U R E A N D 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

ABSTRAIT CHU TEH-CHUN

"Abstrait" testifies to the tempestuous world of Chu’s

the phenomenon that is the Ecole de Paris has eschewed

abstract art through the portrayal of a sinuous amalgam

the figurative arts, rediscovering (perhaps inventing) an

of broad and fine brushstrokes, endowed with a poetic

emergent style based on the written form. We know that

and metaphysical meaning that goes beyond physical

he was heavily influenced by Fauvism at first, but he quickly

form. The present lot invites the viewers into a world of

found his own syntax and personal style, presenting us

dream, where a gulf of whirling heavy brushstrokes occupy

with a powerful and vibrant imagery. " (Natif de la province

the central plane, the clashing and interconnectivity of

de Kiang-Sou, étudiant aux beaux arts de Hang-Tchéou,

the rhythmic lines that oscillated amidst the quivering

membre de plein droit de ce fantasme qu'est l'Ecole de

spatial arrangement hinting at the dexterity of the artist’s

Paris, vite dédaigneux de la voie figurative, Chu Teh-chun

brushstrokes. It illustrates Chu’s mastery in comprehending

redécouvre [inventant ce qui est] les qualitiés d'écriture qui

the harmonic nuances of the natural world, the resulting

sont nécessaires au surgissement. Le fauvism le requite un

work is saturated with energy, sensibility, and spontaneity

moment. L'envie qu'il avait [le souci] d'explorer l'espace lui

as the broad swaths and unrestrained calligraphy like lines

permit sans trop attendre de se créer un vocabulaire et une

gathered and intertwined in a proliferation and become

syntaxe personnele. )

a field of tumultuous action that captivates the vehement fervor and dynamic momentum of the natural world that

《抽象》一探朱德群澎湃的抽象藝術世界。畫中雄渾與精細的

has no end and no beginning. "Abstrait" encompasses

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

the mysterious realm between form and the formless,

入夢迷之境。本拍品上部狂風吹拂，充滿律動而相互激盪的線

the temporal and the eternal, thereby inducing one’s

條於搖曳的廣闊空間中擺漾，於精微之處展現出畫家靈活的技

imagination to wonder in this incandescent metamorphosis

法。本作體現朱掌握自然界的和諧精妙之處，筆觸飽富能量與

of Chu’s infinite universe that changes unceasingly.

靈思；豪邁不羈的線條聚纏成一派喧騰之流。《抽象》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

The wave of abstract expressionism in 1950s Paris ignited

無窮宇宙，引導觀者徘徊其中。

a passion in the artist that led him down the path of abstract painting. At a visit to a retrospective on Nicolas

1950年代巴黎蓬勃的抽象表現主義浪潮，激勵朱德群從寫實畫

de Staël at the Paris Museum of Modern art in 1956, he

轉向抽象畫的道路。而1956年參觀了巴黎國立現代美術館的史

was swept up by the passionate imagery and released

塔耶爾遺作回顧展，畫中熱情奔放的意念遊走，大大震撼了朱

from the fetters of figurative art. Soon after, he began

德群的視覺經驗，激勵他逐漸擺脫有形化的約束。開始嘗試抽

his own experiments with abstract creation. In 1960,

象畫。1960年朱德群以帶有中國書畫意象的油畫作品獲邀參加

Chu Teh-chun was invited to participate in the Ecole de

「巴黎畫派」聯展，晉升為新一代巴黎畫派的成員之一。書法

Paris Exhibition with an oil painting marked by Chinese

性的強烈線條與色塊結構，沉穩中帶有律動感，尤其受到西方

conceptual imagery, cementing his reputation in the Paris

藝術評論家的注意。法國詩人兼藝評家于伯．阮是朱德群第一

art scene. The painting, with its strong, calligraphic line

位忠實的西方評論家，讚美他的風格轉變：「這位中國畫家在

structure and rich sense of movement, was well received by

接觸了巴黎畫派之後，似乎重新體認中國傳統書法中特有的書

Western art critics. French poet Hubert Juin was Chu's first

寫性的長處。我們知道他之前畫過受野獸派影響很深的作品，

ardent critical supporter. He writes: "A native of Jiangsu

但是在短短的幾年之中，他找到了屬於自己的書寫方式，透過

Province steeped in the arts of Hangzhou, this member of

這一系列的作品，朱德群帶給我們強烈而生動的意象。」

Ravenel 53

026

CHU TEH-CHUN

(Chinese-French, 1920 - 2014)

Lumière à l'horizon (The Horizon is Brightening) 1990 Oil on canvas 60 x 73 cm Signed lower right CHU TEH-CHUN in Chinese and English, dated 90 Signed on the reverse CHU TEH-CHUN in Chinese and English, titled Lumière à l'horizon in French, and dated 1990 ILLUSTRATED: Chu Teh-Chun , Galerie Enrico Navarra, Paris, 2000, color illustrated, p. 156 This painting is to be sold with a certificate of authenticity issued by Dimensions Art Center, Taipei.

HK$ 1,500,000 - HK$ 2,200,000 NT$ 6,303,000 - NT$ 9,244,000 US$ 193,300 - US$ 283,500

朱德群 地平線之光 1990 油彩 畫布 60 x 73 cm 簽名右下：朱德群 CHU TEH-CHUN. 90. 簽名題識畫背："Lumière à l'horizon" CHU TEH-CHUN 朱德群 1990 圖錄： 《朱德群》，昂利哥．那瓦哈畫廊，巴黎，2000，彩色圖版，頁156 附帝門藝術中心開立之原作保證書

Chu Teh-Chun abstract paintings are not just a frame for forms and colors, nor are they just a concerto of shades – they may depict the Earth’s liveliness, a circus of movements, the artist’s deep intellectual reflections, or nature’s emotional impact on Chu. Just as the renowned French commentator Pierre Cabanne once wrote, "Abstraction

is not the ends, not even a means, but a process. Teh-Chun is not evading nature or rejecting nature’s realism.

Rather, he’s expressing nature with a very sensational language that has always lingered in his mind. " (Cabanne, Pierre, "On Chu Teh-Chun," Solo Exhibition of Chu Teh-chun , Taiwan Rubycon Co., Ueno Royal Museum, 2008, p.

58. Available in Chinese, French, and Japanese, but not English).

As a practitioner of western painting well immersed in Chinese culture, Chu Teh-Chun never limited himself to any single cultural framework. In 1955, he traveled to Europe’s capital of art, Paris, and delved into the essence of western art. In particular, he had a good grasp on making his abstract paintings colorful and rich in layers, characteristic of oil paintings. And yet, he did not forget to blend in such Chinese elements as calligraphy’s sense of tempo and depth. In this way, Chu has carved out a new dimension for western abstract art. Cosmology – or the idea of macrocosms – in the East is not limited to the inaccessible world of gods, nor does it say that humankind is placed higher in hierarchy than all other beings. Rather, human beings are treated as part of nature, and live in sync with their natural environment as well as all other organisms. This sort of macrocosmic view has influenced Chu’s attitude deeply. Therefore, in his creative career, Chu has always started the observation of the outer world from his inner vision, noting the natural rhythms and births and deaths from his heart. Then, with oil as his medium, he depicts humankind and the universe as one of the same kind. In 1997, Chu Teh-Chun became the first ethnic Chinese member of L’Institut de France in 250 years for his excellent achievements in art.

Ravenel 55

"Space in the works of Chu Teh-chun is not presented using traditional

perspective; rather, it is what might be called 'manifold space.' The

LUMIÈRE À L'HORIZON CHU TEH-CHUN

main formal elements in Chu's work are small squares created by filling in rich, thick color between the twisting lines. This method of expression can be thought of as constituting the salient characteristic of Chu's new style. The careful selection of color tone and the precise placement of the small squares in the painting create impressive color variation and light effects. This is not only space, but also structure; this combination of space and structure can be seen in almost every painting by Chu Teh-chun, and is one of the chief features of his work. " This perceptive analysis of the artistic style of Chu Teh-chun is by Maurice Panier, the "guardian angel of modern art," who was the first to "discover" Chu Teh-chun.

Taking up the point about space and structure made by Panier, Chu Teh-chun has never allowed himself to be restricted by material space in the composition of his paintings. The structure of the images presented in his works, and his vigorous use of dots and lines, are all the product of careful reflection and rigorous compositional planning; what this creates is a kind of "purposeful" freedom. The crisscrossing of horizontal and vertical lines, the ordered calligraphic lines, and the brilliant utilization of oils – which is at the same time random and controlled – present an immense, all-encompassing visual world, and create on the canvas the boundless reaches of the cosmos.

He once pointed out that only after his sixties could he be comfortable a n d s k i l l e d e n o u g h t o c re a t e p a i n t i n g s h e w a s s a t i s f i e d w i t h .

"Compared to young people, the elderly own the most affluent

spiritual resources, with lengthy life experiences and memories. Since the 80’s, I have been painting my own memory and journeying within. " said Chu when speaking of his mindset in creation. Memory hides in the depths of the mind. Like lava from the center of the Earth, memory accumulates its energy over time. Although buried in a hidden bottom layer, it is a surging and passionate spiritual core that blazes with an incomparable flame. Facing the canvas, the painter can thus manifest the light of memory inside him, which is also the radiance you and I share. This is why his paintings always touch people’s hearts and stimulate the deepest emotions.

Although inspired by Western abstract expressionist art, Chu has always had a high degree of respect for Chinese landscape painting during the Tang and Song dynasties. He also enjoys reading Tang poetry and Song Ci (a poetic meter) to cultivate his personality. Chu perfectly combines modern abstract painting with poetry, painting and artistic conception, embodying the ancient saying that "painting dwells in poetry as poetry exists in painting." He is called "the Song painter of the 20th century." Chu holds a habit of listening to classical music when creating his works. Following the rhythm of the musical notes, he expresses a kind of musical element and spirituality on his canvas. The soul–stirring emotion surges and falls just like individual movements in a symphony.

"Lumière à l'horizon" Chu uses broad, sweeping brushstrokes to create a grey and green background, while the center of the canvas

features dark orange, yellow, brown, blue, white patches that sparkle

論及空間與結構，朱德群的構圖從不受限於物質空間，畫中的形象結構，充

brilliantly. The dynamic orange color patches whirl around amidst

滿動勢的點、線、面都是經過審慎考慮與嚴謹組構過，呈現出一種有目的的

taught, twisting lines, create a sense of multiple dimensions. Refusing

自由。縱橫交疊、頓挫有序的書法線條，與隨性而約制的油彩的巧妙運用，

to be constrained by traditional rules of perspective, Chu has created a

營造出廣闊深邃的宇宙空間。

work that is alive with the contrasts between light and dark, producing a complex, interleaved composition. This work demonstrates how, by the

他曾經說要在六十歲之後，才能得心應手，真正畫一點自己滿意的畫。「相

1990s, Chu Teh-chun’s shift towards a more abstract style had seen him

對於年輕人來說，老年者擁有最富足的精神資源，有長長的人生閱歷記憶。

achieve more freedom and confidence in terms of both his brushwork

我從八十年代開始，就畫我的記憶，幻遊我的記憶。」朱德群娓娓道出創作

and his use of color.

的心境。人的記憶潛藏在心靈的深處，如同地心的熔岩，蓄積著時間的能 量，儘管處於底層幽微，那可是炙熱無比、湧動激昂的精神核心。面對畫布

Under Chu Teh-chun’s masterly brush, a static painting takes on a

時，畫家方得顯露內心記憶之光，那也是你我皆有的內在光輝，因此他的繪

sense of speed and dynamism; the contrast between light and shadow

畫總能打動人心，激盪情感。

takes control of the work,magically transforming the dimensionality of the canvas, so that the misty "landscapes" are both still and full of

雖然受西方抽象表現藝術啟迪，朱德群對於唐宋山水畫一直懷有高度的敬

movement. Chu makes the constant change of the cosmos and the

意，平日也喜愛閱讀唐詩宋詞，以陶冶性格。他的現代抽象畫將詩、畫、意

relationship between man and nature exude a poetic rhythm that gives

完美地結合，貫徹詮釋古人的「詩中有畫，畫中有詩」最高境界，被譽為是

off a feeling of joy and acceptance, embodying the spiritual awakening

「二十世紀的宋代畫家」。他習於作畫時聆聽古典音樂，隨著音符的律動使

that Chu himself felt that nature had given him, and reflecting the

得他的畫面帶著音樂性及精神性，有如交響樂章般或激昂或溫婉，盪氣迴

comments that Chu once made to the effect that "What I paint is both

腸。

my response to nature and the feeling that nature instills in me. You might go so far as to say that the work is the spiritual crystallization

完成於1990年的作品《地平線之光》，藝術家為此作注入氣魄雄渾的青

of my relationship with nature. " The sudden appearance of light in

灰，並充份掌握油彩的厚、薄、乾、濕，展現渺氤氳感及傳統水墨的肌理，

the canvas seems like the first light of victory after eons of darkness,

使油彩不僅代表色譜，更昇華為浩淼的創作語彙。《地平線之光》以大筆觸

embodying the rebirth of hope. "Lumière à l'horizon" can fairly be said

的寬闊書法線條繪畫出黑色和青灰色的背景，畫布中央顏料深濃的橘、黃、

to constitute one of the finest masterpieces to take its being from Chu

褐、藍、白、紅等繽紛寶石色塊，閃耀玲瓏。充滿動勢的橘色盤旋於蜿蜒有

Teh-chun’s lifelong artistic journey of the spirit.

勁的線條，創造出「多重」維度，不囿於傳統的透視空間，劃分出明暗強烈 與跳躍的畫面，使構圖縱橫交疊。1990年代的朱德群，已經歷抽象風格的

朱德群的抽象繪畫不僅僅是形式與色彩的結構，也不僅僅是光明與黑暗的協

轉換、畫筆的揮灑與用色越發適意自在。

奏曲，那裡面有大地的呼吸、有包容萬象的動態、有深邃寬廣的智性光輝， 更有藝術家對自然的深情詠嘆。正如法國重要藝評家皮埃爾．卡巴納曾經寫

在朱德群出神入化的大筆刷下，靜止的作品搖昇其空靈的速度感，帶出巍巍

下的：「抽象不是目的，甚至不是手段，而是一個過渡。德群並沒有離開自

能量；深刻的光影掌舵，巧妙推拉搖移畫布維度，使看似雲山煙樹的靈秀山

然，他不排斥自然的真實，而是將它融入富於個人感知和傳承的語言。」

水亦靜亦動。朱德群睿智地將宇宙變化、人和自然的關係伴隨詩意節奏，散

（皮埃爾．卡巴納撰〈論朱德群〉，《大象．無形》，台灣馨昌株式會社，

發出喜悅與從容，貫徹大自然賦予朱德群的靈性啟示，並呼應藝術家曾經

上野の森美術館，2008，頁58。書為中、法、日文，並無英文譯文）作為

敘述：「我所畫的，是我對大自然的感覺，也是大自然賦予我的感覺，徹底

擁有深厚中國國學根基的西畫家，朱德群從未自我侷限於任一文化框架當

的說，是大自然與我靈性的結晶。」畫布中心的靈光乍現，彷彿衝破歲月囚

中，他在1955年來到歐洲的藝術之都巴黎，全心擁抱西方藝術的精髓並掌

於黑暗的第一道勝利曙光，勾勒出的柳暗花明的希望之地，《地平線之光》

握了油彩那層次豐厚、色彩紛呈的特質，同時融匯中國書法的筆墨節奏與山

可堪稱為朱德群終生藝術信仰的開花結果之作。

水的深遠意境於抽象繪畫之中，為源自西方的抽象藝術開創了嶄新面向。而 東方思想中的宇宙觀，或者說是天地觀，並不將視線停留在遙遠而不可企及 的神之國度，亦不將人的地位淩駕於萬物之上，而是將人視為自然的一體， 與所有生靈與山川大地的脈動共生共存，這樣的天地觀深深地影響了朱德群 對於創作的態度。於是，在創作的道路上，朱德群由內心向外覺察自然的律 動、領悟天地運行的道理，而透過油彩的揮灑，創造了天人合一的境界。朱 德群在藝術領域的卓越成就，為他在1997年贏得法蘭西學院藝術院士的殊 榮，成為該學院成立250年來的首位華裔院士。 「朱德群的空間不屬於傳統的透視，而是所謂的『多重』空間，他在蜿蜒曲 折的線條之間，加入厚重濃稠顏料所畫成的小方塊的造型元素。這種表現手 法或許正顯示朱德群新風格的特徵。精巧選擇的色彩以及畫中小方塊的處 置，使色彩變化而產生光的效應。它們不僅是空間，同時也是結構，而這 種結合，幾乎在朱德群的每一幅畫裡都是如此，是他作品中主要的特質之 一。」作為最早探究與發掘朱德群的重要推手，現代藝術「守護神」巴聶對 朱德群繪畫的分析實為精闢。

CHU Teh-chun, Puissance soudain ,1992, oil on canvas, 65 x 81.2 cm, Ravenel Autumn Auction 2012 Taipei, Lot 654, US$268,410 sold 朱德群《突發力量》1992 油彩畫布 65 x 81.2 cm 羅芙奧台北2012秋季拍賣會 編號654 成交價：HK$2,080,000

Ravenel 57

027

LIU HAISU

(Chinese, 1896 - 1994)

Golden Landscape – Yellow Mountain 1983 Ink and color on gold-coated paper 98.5 x 183 cm Inscribed: There stand the magnificant yellow mountain for over a hundred years, this is the ninth time of my visit, dated to the autumn of year 1983, signed Liu Haisu as of age eighty-eight.

With seven seals of the artist PROVENANCE: Collection of Mr. Zhou Yunjian, Brazil

HK$ 850,000 - HK$ 1,300,000 NT$ 3,571,000 - NT$ 5,462,000 US$ 109,500 - US$ 167,500

劉海粟 金箋山水 – 黃岳雄姿峙古今 1983 彩墨 金箋紙 98.5 x 183 cm 簽名題識左下：黃岳雄姿峙古今 百年九度此登臨 癸 亥清秋 劉海粟 年方八十八 鈐印右側：靜遠堂 曾經滄海 九上黃山絕頂人 劉海粟 鈐印左上：海粟歡喜 鈐印左下：海粟不朽 金石齊壽 來源: 周雲鑑先生舊藏，巴西

Ravenel 59

GOLDEN LANDSCAPE – YELLOW MOUNTAIN LIU HAISU

Liu Haisu, a member of China’s first generation of oil painters,

He once said, "Yellow Mountain is a truly beautiful place

worked together with Wu Shiguang and Zhang Yunguang

and a veritable natural museum of sculpture – I never grow

to establish the Shanghai Academy of Chinese Painting in

tired of its scenery. There is stillness in moving things and a

1912. As the proponent of a new artistic revolution in China,

sense of movement in still objects. Gorgeous peaks, unusual

he broke new ground as a pioneer in many respects, such as

stones, and lush pines seem still, but are instantly brought to

by founding the first private institute of fine arts, known as

life as a bank of wandering clouds rolls in. Yellow Mountain

the Celestial Horse Association, and published Art magazine,

is magnificent and steadfast. Yellow Mountain has an almost

the first magazine of its kind in China dedicated to covering

indescribable aura of mystery surrounding it. Each time I

the arts. He initiated co-education and was one of the first

visit, I am inspired in a different way. The subject matter for

individuals in China to incorporate the use of nude models to

painting scenes of Yellow Mountain is inexhaustible. Yellow

teach painting, which stirred up a great deal of controversy

Mountain is my teacher, and its beauty inspires me to create

at the time. Moreover, he encouraged artists in China to take

many artistic works. When I gaze out at the ever-changing

part in en plein air painting while traveling outdoors, breaking

clouds and interplay of light at Yellow Mountain, I see ink and

from the convention of relegating painting indoors which

color splashing across white paper. "Yellow Mountain" taught

was common at that time in China. Liu’s pioneering efforts

me the splashing ink and color painting method ." "Golden

also won the support of the famous scholar Cai Yuanpei.

Landscape – Yellow Mountain", was created in 1983 after

Liu excelled at traditional Chinese painting, oil painting,

Liu’s ninth visit to Yellow Mountain. The splashing ink and rich

calligraphy, poetry, and art theory. He placed great emphasis

colors make this fantastic painting a highly representative

on capturing the candid reality of his subject matter, and his

piece from Liu’s portfolio of work centered on the theme of

style is not only bold and unconstrained but also vigorous

Yellow Mountain.

and strong. Traces of post-impressionism can be seen in his ink and color paintings, imbuing his work with a style that is

In 1983, at the age of 87, invited by the Anhui Federation

unabashedly unique. Supposedly maligned with the nickname

of Literary and Art Circles, Liu paid his ninth visit to the

"a traitor to the arts," Liu instead embraced the title and took

celebrated Yellow Mountain. In a period of two months, from

the initiative, similar to les Fauves at the time, to set out to

August 8 to October 6, he completed a large number of

create innovative new art that would stand the test of time.

sketches and magnificent masterpieces. He painted by day,

Yellow Mountain was greatly appealing to Liu, and was also

organizing his drawings and composing poems by night.

his favorite theme. Liu visited Yellow Mountain ten times. In

Being spirited and productive, his brush was never idle

1988, he even held a show titled Ten Visits to Yellow Mountain

during his stay in Yellow Mountain. In 1988, he even held a

at the Shanghai Art Museum.

show titled Ten Visits to Yellow Mountain at the Shanghai

Art Museum, which included his creations on Yellow Mountain

評的「藝術的叛徒」稱號自勵，猶如當年「野獸派」在美術史上的開

over the years. This piece presents the classic themes of the

創先例。1983年，時年87歲高齡的劉海粟老人受安徽省文聯邀請，

Yellow Mountain series: the peaks, the clouds and the pines. Liu

第九次登臨黃山。在當年8月8日至10月6日長達2個月的時間裡，他

employed three different methods to complete this painting.

以飽滿的激情完成了大量的寫生和氣勢磅礡的佳作。白天寫生畫畫，

Depicting the clouds in the foreground with realist techniques,

晚上整理畫稿，創作詩文，精力旺盛，筆耕不輟。1988年，「十上

he outlined the trunks and stems of pines in detail with lines of

黃山」畫展在上海美術館舉辦，總結了他多年來的黃山創作。他的黃

various sizes. Such a depiction echoes the style of Liu’s sketches

山系列創作層曾陳列於中國北京人民大會堂會客廳。

from the 1950s. His pines are tall, straight and appealing, demonstrating the majestic co-existence of force and grace. Liu

他曾說：「黃山真美，是天然的雕塑博物館。黃山的風景，百看不

used the calligraphic center tip technique to trace the mountains

厭，越看越有味。靜中有動，動中有靜，奇峰、怪石、松樹是靜的，

in the middle ground, and then

一陣煙雲來變幻無窮，頓時就都活起

added washes of ink to smoothly

來。黃山的氣勢大，黃山有堅貞不屈

complete the whole design. Such

的毅力，黃山有深邃莫測的魔力。我

striking momentum brings Yellow

每次來，每次都有新的認識，有畫不

Mountain to life. The mountains

完的畫。黃山是我的老師，他的美誘

and the mist in the background,

發了我的靈感，使我創造了很多藝術

however, were created through the

作品。在我的眼裡，變幻的煙雲，在

splashing technique of watercolor.

光的作用下，就像墨和彩潑在白紙上

A coherent stroke creates a scene

一樣，我的潑墨潑彩新畫法就是黃山

where the clouds cover the peaks

教我的。」

while the peaks show up through the clouds, which is simply dashing

此幅1983年的《金箋山水─黃岳雄

and refined.

姿峙古今》為九上黃山後的憶寫大 作，呈現了黃山系列中的經典主題：

" G o l d e n L a n d s c a p e – Ye l l o w

黃山峰，黃山雲和黃山松。三者手法

Mountain" is entirely in the

迥異，前景中的黃山雲松採用寫實手

unique style of Liu, and is even

法，以粗細不均的線條勾勒雲松的松

rarer than usual as the work was

枝，枝椏及樹幹的細部。這樣的筆墨

created on gold-coated paper.

仍留有劉海粟先生在1950年代寫生作

The imposing aura of Huangshan is augmented by this golden

品中的風格和趣味。他筆下的雲松豐茂，挺拔，遒勁，婀娜多姿，力

splendor, imbuing the painting with the mysteries of the Orient.

量與柔美並存。中景的山巒以書法運筆的中鋒勾勒形態，然後敷以濃

Inside Beijing’s Great Hall of the People, Liu’s masterpiece

墨渲染，筆墨酣暢，氣勢奪人，黃山峰的雄奇躍然紙上。遠景的遠山

"The Magnificence of Yellow Mountain" (now in the collection

與雲霧則以採用的是寫意潑彩，一氣呵成。雲掩峰，峰現雲，瀟灑縱

of Diaoyutai State Guesthouse) once hung in public view. The

橫。畫中墨韻淋漓、色彩斑斕，氣勢不凡，為其黃山題材中的佳作。

imagery and structure of this painting is almost exactly the same as the "Golden Landscape – Yellow Mountain". For collectors of

金箋黃山可說是劉海粟的獨門妙手，繪於金箋紙的作品更顯稀有。黃

Liu Haisu’s works, this is a once-in-a-lifetime opportunity to add

山的氣勢在金色的烘托下輝煌耀眼，充滿東方的神秘氛圍。此幅《金

the rare masterpiece "The Magnificence of Yellow Mountain" on

箋山水─黃岳雄姿峙古今》的構圖與北京人民大會堂上曾懸掛的海老

gold-coated paper to your collection.

《黃岳雄姿》（現藏於釣魚台賓館）取景角度幾乎相同，藝術愛好者 若能夠珍藏金箋版的《黃岳雄姿》，備顯稀珍尊榮。

劉海粟，中國第一代油畫家，1912年與烏始光、張聿光創辦上海美 術專科學校。他一生暢言美術改革，有諸多創舉：如組織第一個民間 美術團體「天馬會」；發行中國第一本美術雜誌《美術》；首創男女 同校；更引進人體模特兒，掀起巨大波瀾；鼓勵旅行寫生，打破關門 畫畫常規，他的創舉獲得蔡元培學者的支持。劉海粟於國畫、油畫、 書法、詩詞與藝術理論上皆有深厚造詣，重視寫生，畫風豪放奇肆， 蒼莽勁拔，彩墨畫帶有後印象派的影響，卓然自成一家，他以遭人怒

Top: LIU Haisu, Magnificent Scenery of Mount Huang , 1983, ink, color and gold on paper, 98 x 183 cm, Poly Auction Hong Kong, 2012, US$471,040 sold 上：劉海粟《黃岳雄姿》1983 彩墨 金箔 紙本 98 x 183 cm 保利香港2012首届拍賣會 HK$3,680,000成交 Bottom: LIU Haisu, Magnificent Scenery of Mount Huang , 1985, ink and color on paper, 119 x 493 cm, The Great Hall of Beijing 下：劉海粟 北京人民大會堂的《黃岳雄姿》1985 彩墨 紙本 119 x 493 cm

Ravenel 61

028

LIU HAISU

(Chinese, 1896 - 1994)

Yellow Mountain â&#x20AC;&#x201C; Sea of Clouds 1987 Ink and color on paper 144 x 366 cm

PROVENANCE: Collection of Mr. Zhou Yunjian, Brazil

With eight seals of the artist Signed and inscribed in Chinese Bathed in the rising sun between the heavens and the seas, Immersed in the universe of golden autumn.

A panoramic view illuminated in morning light, The arms of pines stretch over the precipice, Brushing towards embroidered Shenzhou along rainbow drops of falling rain.

He who splashed color upon Kaiyue Pavilion at Mid-Autumn, Reminisced and delineated the skylines of Yellow Mountain.

White as billowing smoke, Red as roaring fire, Blue, icy emerald, Impressions bizarre, wonderous, and bountiful.

A work of eternal greatness,

By Liu Haisu, The long-lived grandmaster of art.

HK$ 2,400,000 - HK$ 3,600,000 NT$ 10,084,000 - NT$ 15,126,000 US$ 309,300 - US$ 463,900

劉海粟 憶寫黃山天海一線天 1987 彩墨 紙本 144 x 366 cm 簽名題識左上：海天旭日浴金秋 宇宙曙光眼底收 松臂滿崖齊探手 笑播彩雨绣神州 丁卯中秋潑彩於凱悅軒 憶寫黃山天海一綫天 粉白為煙 驚紅為火 紺藍冷翠 光怪陸離覺豐神 未老也 劉海粟 百歲聞一 鈐印左上：海粟歡喜 海粟不朽 金石齊壽 鈐印左中：美在斯 鈐印右下：九上黃山絕頂人 黃山是我師 清白傳家 存天戲海之樓 來源: 周雲鑑先生舊藏，巴西

Ravenel 63

YELLOW MOUNTAIN â&#x20AC;&#x201C; SEA OF CLOUDS LIU HAISU

Being the master of Chinese art in the 20th century, Liu Hai-Su is

mountains and rivers, and he connects tradition to actual life. His

celebrated for his strongly subjective and unique open-minded

artistic experience provides an important preparatory understanding

attitudes towards art. From the 1970s to the 1980s, there had been

for his later colour-ink explorations. His "Yellow Mountain â&#x20AC;&#x201C; Sea

discussion about the future of Chinese paintings in art circles. In

of Clouds" finally becomes a work praised far and wide in artistic

a discussion about the extremely sorry state of Chinese paintings,

circles. In his coloured-ink work, "Yellow Mountain â&#x20AC;&#x201C; Sea of Clouds"

being different from other people's view, Liu still insisted on an open-

mountains are toweringly erected and magnificently overlapping.

minded attitude. He has been engaged in exploring splash-ink and

Their imposing manner is thrilling and vibrating. Clouds and mists

splash-colour methods of Chinese paintings. Thus, he becomes a

float among them. Looking like a fairy land, this picture represents a

pioneer at the two methods.

powerful force resulting from the creation of nature. This work is so breathtaking. Shadows of mountains are made by using the mercury

Fig 1

Fig 2

Fig 3

Liu's colour-ink art explorations are relevant to his insistent belief

ore called cinnabar. The rocky mountains in the foreground are made

in the principle of combining Chinese and Western art. In his later

by using water and ink and splash-colour method. With coloured ink's

life, he also uses both oil paintings and colour ink at the same

free permeation, the painter applies many layers of ink and also plays

time-making Chinese and Wester n elements keep abreast of

up azurite in this painting. Marvelous pines in the front are outlined

each other. In his painting, the two are simply different medium

using forceful brush strokes. Large patches are made by combining

of conveying thoughts and feelings and also represent his artistic

ink colours with water and thus an effect of rich texture is left on the

features in his later life. The force of unexpected change is shown

rice paper. The blank areas and coloured areas make an interesting

in har mony among colours. Such kind of unexpected change

contrast. Red and blue connected to each other are strong and also

introduces a novelty within a traditional idea, "ink is regarded as

make a good match. Thus an aloof and ancient realm of stable,

the main focus; colour, as a complement"in literati paintings. Liu

heavy, spiritual and graceful feeling is achieved. The painting,

selects attractively scenic Huang Mountains as a significant object

"Yellow Mountain - Sea of Clouds" shows the painter's profound

in his colour-ink changes and also as a topic conveying his artistic

realization on tradition and innovation. Liu fulfills his coloured-ink

feeling-thus transforming the mountain into a landscape with vast

exploration within a traditional structure. His art itself comes more

and magnificent scenery. This remarkable representation originated

from Chinese traditional culture. In a solid foundation of vast Chinese

from the painter's rich experience of painting from life in his earlier

traditional cultivation and knowledge, Liu's colour-ink art provides a

years. Liu uses Chinese painting skills and comparison in portraying

unique style. His use of the brush is forceful and powerful. Colours

are applied in a free manner. He sometimes uses a splash-colour

art, such as the works by Matisse, Cézanne, Van Gogh, Renoir and

technique – which demonstrates his bold spirit. His paintings

Monet, onto the depiction of landscapes, lotus and red plums in

achieve a marvelous effect and a degree of representation which

his later years. Color and ink appear in perfect harmony in his art.

can compete with Western oil paintings.

Water, ink and color convey his passion and feelings through the splashing of watercolor.

He was also one of the first pioneers who valued artistic language and art forms in modern Chinese art. To Liu, in addition to the

Poetry and painting were inseparable in the development of

topic, a work of art also relies on its form to move its audience.

literati painting. Composing poems has always been an important

He travelled thousands of miles and read thousands of books,

mark that differentiated literati painters and professional painters,

having journeyed to the West for 5 times, the East 4 times and the

and Liu attained remarkable achievements on the creation of

South a few times, copying and researching artworks at various

poems. Visiting Yellow Mountain in his later years, in addition to

museums and galleries around the world. This gave rise to his

many magnificent landscape paintings, he also produced quite

solid foundation of oil painting and wide artistic horizon. He

a few exceptional poems and verses that praise the spectacular

was even more engaged in Chinese painting, copying numerous

landscape of Yellow Mountain.

authentic artworks and delving into the study of literati painting.

Being a great painter as well as an outstanding calligrapher, Liu valued sketches and observation, drawing endless inspirations from nature. He stressed "spirit" and "the use of brush" in his ink wash painting, following "Spirit Resonance" (the overall energy of a work of art) and "Bone Method" (the way of using the brush) indicated in The Six Principles of Chinese Painting by Xie He, an art historian of Southern Qi dynasty. Liu applied Seal Script in his painting, bringing striking momentum through strokes of center tip. From the 1970s, based on his solid foundation of the "Bone Method," Liu launched a bold attempt to depict the lotus and Yellow Mountain through the splashing technique of watercolor.

In addition, he also applied his research and studies of modern

Fig 4

Fig 1 Liu Haisu Art Museum, Shanghai 劉海粟美術館 – 上海新館 Fig 2 Previous collector Mr. Zhou Yunjian with connoisseur Mr. Qi Gong 原藏家周雲鑑先生（右）與鑑賞家啟功先生（左）合影 Fig 3 A calligraphy writing given to Mr. Zhou Yunjian from Liu Haisu 劉海粟贈周雲鑑先生書法作品《瓌瑋博達》 Fig 4 LIU Haisu, The Tenth Time on Goose Peak in Yellow Mountain (detail), 1988, ink and colour on paper, 110 x 118 cm, Collection of Liu Haisu Art Museum 劉海粟《十上黃山白鵝嶺》（局部）1988 彩墨 紙本 110 x 118 cm 劉海粟美術館藏 Fig 5 LIU Haisu, Yellow Mountain (detail), 1985, ink and color ,143 x 367 cm, Ravenel 2014 Autumn Auction Taipei, Lot 232, US$539,672 sold 劉海粟《黃山圖》（局部） 1985 彩墨 紙本143 x 367 cm 羅芙奧台北2014秋季拍賣會 編號232 HK$4,179,104成交

Fig 5

Ravenel 65

作為二十世紀中國美術前輩大師，劉海粟的藝術，素以強烈的主

功和造化之力。遠處山巒之影，以朱砂相敷，漸近石峰以水墨加

觀色彩和獨特的開放態度而著稱。他同時是中國近現代美術史上

以潑彩，在彩墨的自由滲化之間，施以多次積墨，並以石青渲染

最早重視藝術語言和藝術形式的先驅者之一。劉海粟認為，藝術

其中。前景的神奇蒼松，依託遒勁筆線勾勒而成。大片的墨色與

之所以能感動人，除了題材外，還需要形式的感染力。劉海粟讀

水交合，在宣紙上留下了豐富的肌理效果。留白和著色的面積對

萬卷書，行萬里路。五次西遊，四次東渡，多次遠涉南洋，在世

比，使得紅與藍的色彩聯繫既強烈又入調，達到了沈穩厚重而靈

界各大博物館和美術館內臨摹和研究，扎實油畫功底和開闊的藝

動飄逸的高古境界。

術視野由此而來；在中國畫方面他的涉獵更廣，臨摹過真跡無 數，對文人畫傳統有所鑽研，書畫俱佳，並注重寫生和觀察自

劉海粟的彩墨作品《憶寫黃山天海一線天》，顯示了畫家對於傳

然，能夠不斷從自然中汲取創作的靈感。

統與創新的深刻領悟。而劉海粟的彩墨探索實踐，並沒有超出傳 統格局，其藝術本身，較多的是來自中國傳統的素養。因此在廣

在二十世紀1970至1980年代期間，畫界曾經出現過對於中國畫

博的中國傳統文化修養和學識的基礎上，劉氏形成自己關於彩墨

前途的討論，在其中的中國畫窮途末路之論，一度左右人們視線

藝術的強烈風格，用筆強勁而有力，色彩狂放，時用潑彩，豪氣

之時，劉海粟依然堅持

十足，與其油畫之

開放態度，先後對中國

風相得益彰。

畫的潑墨及潑彩之法， 進行諸多有益的探索 ，

在文人畫的發展歷

成為國內潑墨 、潑彩探

程中，詩畫一家，

索的先行者。他的水墨

詩文一直是區別文

作品強調氣韻和骨線，

人畫家與職業畫家

遵從中國古代南齊時期

的重要標誌。劉海

史學家謝赫在《畫論》

粟在詩文方面的成

裡所強調的「六法」中

就斐然，晚年登臨

的「氣韻生動」及「骨

黃山，除了留下了

法用筆」。他以篆書筆

許多壯麗的山水作

法入畫，筆筆中鋒，畫

品，也同時留下了

面充滿氣勢和力量。自

頗多詩文佳句，吟

1970年代之後，劉海粟

詠黃山奇麗景色。

在深入研究繼承「骨法

《憶寫黃山天海一

用筆」的基礎上，在荷

線天》再度證明了

花和黃山的題材的潑彩

劉海粟中西相容的

畫方面進行了大膽的嘗

特點所在，即是畫

試。同時他對馬蒂斯、塞尚、梵谷、雷諾瓦、莫內等西方現代藝

家對於自然色彩的變化和環境色的運用得心應手，改觀了傳統

術的研究和借鑒，在晚年落實到他的潑彩山水與荷花、紅梅上。

「重墨輕色」的固有程式。其中的彩墨表現運用，既蘊含著傳統

他的作品中色墨交融，而在水，墨，色的潑瀉中傳達他的激情與

山水寫意空間的淋漓盡致體現；又聯繫著印象主義色彩處理和光

浪漫。劉海粟的彩墨藝術探索，得益於畫家素以堅持的中西兼

影變化的西畫語言運用。因此，在其中的色墨交融的彩墨造型

能為融合之道。其晚年油畫與彩墨雙管齊下，並駕齊驅，兩者對

中，畫家既營造了豐富的冷暖色調，又描繪自然景色物的光影天

於畫家而言，只是表達思想情感的不同媒介，而且共同體現著畫

趣，開創中國畫墨趣色輝的新意境。因此，以《憶寫黃山天海一

家晚年藝術趣味和特點，那就是在色彩和諧中形成突變之勢。這

線天》為代表的彩墨山水實踐，拓展了中國水墨寫意的文化領

種突變，使得文人畫傳統觀念中的「以墨為主，以色為輔」意思

域，並成為20世紀中國畫演變和發展的重要藝術現象，其價值和

得以別開生面。劉海粟的彩墨之變的重要物件，選擇了風光無限

意義在於，中國潑墨寫意與西方色彩觀念之間融合的蘊藏的豐富

的黃山，並以黃山作為典型的藝術表現題材，幻化出場面宏闊和

可能性。

氣勢恢弘的山水畫面。這自然來源於畫家在早年豐富寫生積累基 礎。劉海粟運用中國畫筆法與自然山川的比較，連接著傳統與生 活，有關藝術體驗成為畫家晚年彩墨探索的重要準備，留下了畫 家十上黃山，描繪「黃岳雄姿」的畫壇佳話。 繪於1987年彩墨作品《憶寫黃山天海一線天》，即是畫家在這 個時期進行彩墨藝術探索的代表例證。畫面中群峰聳立，層層疊 嶂，氣勢撼人，雲霧蒸騰，似仙境一般令折服於大自然的天作之

Top: LIU Haisu, Landscape, 1986, ink and color on paper, 142.5 x 366 cm DuoYunXuan Auction, Shanghai, July 2011, US$5,779,750 sold 上：劉海粟《黃山雲海》1986 彩墨 紙本 142.5 x 366 cm 上海朵雲軒2011年7月拍賣 RMB$38,525,000 成交 Bottom: China Post announced the release of Collection of Stamps in celebration of Liu Haisu's 120th anniversary 下：紀念劉海粟120歲冥誕，中國郵政2016年3月16日發行以劉海粟作品為圖樣 的三款郵票

Ravenel 67

029

CHU TEH-CHUN

(Chinese-French, 1920 - 2014)

Effusions heureuses 1994 Oil on canvas 97 x 130 cm Signed lower right CHU TEH-CHUN in Chinese and English, dated 94 Signed on the reverse CHU TEH-CHUN in English and Chinese, titled effusions heureuses and dated 1994 This painting is to be sold with a certificate of authenticity signed by the artist's wife, Ching-chao Chu.

HK$ 4,400,000 - HK$ 6,500,000 NT$ 18,487,000 - NT$ 27,311,000 US$ 567,000 - US$ 837,600

朱德群 喜悅的彌漫 1994 油彩 畫布 97 x 130 cm 簽名右下：朱德群 CHU TEH-CHUN 94 簽名畫背：CHU TEH-CHUN 朱德群 1994 effusions heureuses 附藝術家妻子朱董景昭女士開立之原作保證書

Ravenel 69

EFFUSIONS HEUREUSES CHU TEH-CHUN Chu Teh-chun was born in Jiangsu in 1920. Chu arrived in Paris in 1955 and experienced the city's abundance of contemporary art in person, especially the retrospective exhibition of Nicolas de Staël (1914-1955) at the Musée de l'Art Moderne de la Ville de Paris in 1956. It opened for him another window of free expression. The exhibition, moreover, became the wedge that would open the way to his artistic pinnacle. His early abstract works were filled with dark tones and strong tensions. However, clear color blocks, calligraphic line, and straightforward, solid composition have been the constant characteristics running through his works in different periods. A man of talent still needs a wise headhunter to discover his gift.

After Chu entered the Paris art circle, he signed a six-year contract with Galerie Henriette Legendre, which was run by the guardian of modern art, Maurice Panier. The gallery successively introduced him to the world and made him an important member of the School of Paris. Receiving various invitations for exhibitions around the world, Chu enjoyed his success and led a happy life with his family. His style, meanwhile, became even more mature: his smooth brushstrokes and ethereal air surged and swirled with an imposing manner. On his canvas, he perfectly combined the artistic conception and the solid brushwork that are emphasized in Chinese poetry and painting.

At the age of 62, the Musée des Beaux Arts André Malraux in Le Havre, France, hosted his first large retrospective exhibition. Five years later, he returned to Taiwan and held an important retrospective exhibition at the National Museum of History. "Effusions heureuses" exhibits the sophistication of composition honed by Chu Teh-chun over decades of abstract exploration. With ethereal sweeping strokes of white juxtaposed with opaque forms of darkened hues, the artist has created a sense of depth which recalls the construction of landscape within this composition.

In 1997, Chu was elected as a member of l'Institut des Beaux-Arts de l'Académie Française. After 2000, in his eighties, the master's abundant creativity did not slacken. His free, artistic expression that seemed to be accumulated from past glories once again created a new dimension in abstract painting. Chu, who lives in France for almost sixty years, still maintains his Eastern soul and humanistic spirit. In the European art circle of "Lyrical Abstract" that flourished after WWII, he was praised for his unique personal style fused with his intrinsic grounding in traditional Chinese art, as well as for his solid painting skill. He is hailed as one of the best Chinese abstract masters in the 20th century.

Since he was well versed in calligraphy, one of the characteristics of his paintings is the use of brush strokes. He remembered the words from ancient painters, saying that the function of a brush is to make things stands out from a chaotic world. His brush has a fluid rhythm, creating

beautiful, powerful lines on the paintings. On the other hand,

Since he was well versed in calligraphy. Chu Teh-chun was

his use of light makes his works look classical. (He said the

particularly skilled at using the contrast between light and dark

light in his paintings is inspired by Rembrandt.) His use of light

to depict the radiant beauty of light. "Effusions heureuses" is

is also influenced by Expressionism. The light decides the

an outstanding example of this skill. The colors somehow reflect

arrangement of color and structure in his paintings, it constructs

off one another, with the bright radiance flashing between

the atmosphere of the images. His fellow artist, Min Xiwen

them, creating a vivid beauty that is full of life and energy. The

once said, "The light in Chu Teh-chun's works can be seen as

carefully thought-out composition has the light and the colors

the expression of Yin and Yang. It also creates spaces in the

touching one another, in an apparently chaotic, violent manner,

paintings. He uses Chinese wisdom to fulfill the physical world. "

and yet at the same time they combine to form a harmonious, sweeping "symphony" of perfection. Here, the power of nature

The Paris Critic, Jean-François Chabrun said Chu Teh-chun is a

is transformed into a dance of light and color which exudes an

"Song-Dynasty Painter in the Twentieth Century." It points out

infectious appeal to the human heart. As the title "Effusions

the specialty of Chu's paintings as a theory of "Western and

heureuses" suggests, although the painting may be abstract,

Eastern style combined". Min Xiwen believes that, "We can see

what it portrays is the very real pulse of nature that throbs at the

a new pathway from Chu Teh-chun's Paintings. " (References:

universe.

Min Xiwen, "Chu Teh-chun The Famous Abstract Painter" , Chu

Teh-chun Living in France, A Shining Artistic Career of Art , China

Chu dedicates his life to art. He is focused and committed to

Academy of Art Press, April, 1998; Chu Teh-chun , Shanghai

art without distraction. Through his paintings, he shares with

Bookstore Publishing House, Shanghai, 2005, graphic version,

the viewers his life: the small pieces as well as the important

pp. 106-107)

chapters. Even though they are abstract, the surging emotions, powerful concepts, and his spiritual contemplation of the

After having experienced transitions in his abstract style, fame,

universe over and again lead the viewers to travel into his works

and glory, Chu Teh-chun became even more comfortable

and leave feeling deeply touched. The ancient philosopher

handling his paint brush in the 1990s. Created in 1994,

Lao Tzu once said, "The most beautiful sound is soundless; the

"Effusions heureuses" gives a transparent sense of space, with

most beautiful image is without an image. " Within and through

scintillating crystal color blocks, a dynamism between light

his works, Chu has expressed exactly this poetic and aesthetic

and shadow, and momentum from the flowing air. Within an

concept to art lovers around the world.

immense chaos similar to the beginning of the world, the painting leaps across the boundary between the v isib le a nd t h e i nvi si bl e.

The artist fully expresses his ideas through his work and does so with such willful delight. Chu once said that his inspiration comes from nature. He is expert at using dynamic momentum and luxuriant color to express the eternal change of the magnificence of nature.The harmony he achieves in his brush between rhythm and time is simply fascinating.

朱德群《溫柔的沉思》 1997 油彩 畫布 羅芙奧台北2014春季 拍賣會 編號194 成交價：HK$3,100,775

朱德群《光明之歌》1991 油彩 畫布 65 x 80cm 羅芙奧台北 2013春季拍賣會 編號679 成交價：HK$3,730,570

CHU Teh-chun, Douce Méditation , 1997, oil on canvas 80 x 100 cm, Ravenel Spring Auction 2014 Taipei, Lot 193 US$400,133 sold

CHU Teh-chun, Matière Dominée , 1991, oil on canvas 65 x 80 cm, Ravenel Spring Auction 2013 Taipei, Lot 679 US$481,123 sold

Ravenel 71

朱德群1920年出生於江蘇，1941年畢業於國立杭州藝專（今中國

機。同時，這些『光』還以『留白』的方式創造了空間，它在『空

美術學院），師承林風眠。林風眠認為中西繪畫的融合要義在於

無』中放飛人的想像，在『無』中催生了『有』——朱德群將中國

「形式與情緒之表達」，這對朱德群影響深遠，讓他繼承師後踏上

的智慧與西方的眼睛有機地結合在一起，在一個有限的空間中創

西方新世界，也讓他到了巴黎馬上被抽象繪畫吸引，進而展開一生

造了無限。」

探索抽象繪畫的旅程。初始學習以西方的眼睛觀察對象物，試圖以 「非」或「去」的哲學，將自然剝離、簡化外部世界、慢慢體會到

巴黎評論家夏布朗（Jean-François Chabrun）評論朱德群為二十

抽象的內涵不在抽離，而是對「外部世界」的「肯定」。而後內化

世紀的「宋代畫家」，此評價讓世人看到朱德群在「中體西用」、

和交融，「心」與「境」合一，使其深知回到中國文化的養分中找

「西體中用」的辯正中一個巧妙而獨特的切入點。閔希文認為，

尋創作內涵與動機。漸漸地，由描寫對象進而內化對象，於是他開

「表面看，他以西方之『體』（眼睛）來駕馭中國之『用』（智

始訴說存於心底的自然。朱德群在1955年抵達巴黎，親身體驗當

慧），實質卻是以中國之『體』（智慧）來調動西方之『用』（眼

代藝術的豐富與多采，尤以巴黎市立現代美術館於1956年舉辦的

睛）。在這裡，『西方的眼睛』是他的形式，『中國的智慧』是他

「尼古拉．德．史塔耶爾回顧展」，為他開啟了自由表現的另一種

的內涵，他以西方之『眼睛』來把握和認識這個世界，而以中國之

方式，也是他登上藝術創作顛峰的楔子。步入抽象畫風初期的作

『智慧』來充實和豐富這個世界。因此，朱德群的作品仍然是油

品，帶有深沉濃重的色彩與張力。而明確的

畫（不僅是材料上的），在這一點上他

色塊與書法線條，果斷結實的構圖，則是一

已超越了整個中國當代油畫中的『融合

向貫穿朱德群不同年代作品中的特色。千里

主義』取向，甚至已超越了傳統的『體

馬還需伯樂，天賦的才氣讓朱德群一進入巴

用論』，而讓我們看到了中國藝術新的

黎藝術圈即與現代藝術守護神－巴聶主持的

希望和可能。」（參考：閔希文，〈旅

勒讓特畫廊簽訂了六年合約，推動他站上國

法著名抽象畫家朱德群〉，《烽火藝

際舞臺，並成為巴黎畫派的重要一員。來自

程》，中國美術學院出版社，1998年4月

世界各地接連的展覽邀約與成功，幸福的家

版；《朱德群》，上海書店出版社，上

庭生活，朱德群的畫風亦隨心境愈加成熟，

海，2005，彩色圖版，頁106-107〔原

流暢的筆法與空靈之氣，奔騰捲湧，氣象萬

標題為法文〕）

千。中國詩詞書畫的情境意象、運筆勁道， 完美結合並流露在畫面中。

1990年代的朱德群，已經歷抽象風格 的轉換、成名與榮耀，畫筆的揮灑更顯

在他62歲時，法國勒哈佛市的安德烈．馬

自在、遊刃有餘。在這幅1994年創作

勒侯現代美術館為他舉辦第一次的大型回顧

的《喜悅的彌漫》中，通透的空間感，

展；五年後，回到久違的台灣，於國立歷

晶瑩跳耀的色塊，光影對比的活力，大

史博物館展出重要回顧展。朱德群創作於

氣流動的勢態，在有如天地初開的磅薄

1994年的《喜悅的彌漫》，當時他已年屆

渾沌中，躍有形與無形之界線，暢所欲

七十三，藝術修為已達到頂峰。畫面對光色 的處理，構成了畫面的主要內容，呈現著深 刻、雄渾而灑脫的景致。1997年榮登法蘭西 學院美術院士。進入2000年代後，大師以

郭熙《早春圖》1072 水墨 絹本 158 x 108 cm 台北國立故宮博物院藏 GUO Xi, Early Spring ,1072, ink and color on silk 158 x 108 cm, collection of the National Palace Museum, Taipei

八十高齡的姿態，旺盛的創作力絲毫不減，

書，快意淋漓！朱德群曾自述他的創作 靈感源於大自然，他專擅將其豐富無窮 的雄偉壯麗，以翻飛的動感與華麗的色 彩展演出不曾停歇的奧妙變化。韻律性 以及時間感的協調，引人入勝。朱德群

彷彿集大成的自由揮灑，又再度開創抽象繪

特別善於透過明暗反差展現光的璀璨，

畫的新格局。長居法國的朱德群，不脫其東方靈魂與文人精神，他

《喜悅的彌漫》即是一個傑出的例子。畫面基底以筆刷大塊面掃

深厚的中國傳統藝術內蘊與紮實的繪畫技巧，於二次戰後興起「抒

過，如書法用筆一般流暢自如。畫面中部的大塊面黑色，如亂石崩

情抽象」的歐洲畫壇融匯出鶴立於群的個人風格而備受矚目，被譽

雲，與畫面上層細碎的橘色，玫紅，黃色色塊形成鮮明對比，色彩

為二十世紀華人畫家中最傑出之抽象主義大師。

互相投影反射，光芒跳躍於其間，繽紛絢麗，充滿生機。在藝術家 慎密的構思佈局之下，光與色彩互相碰撞，看似混亂且騷動，卻又

擅長書法藝術之故，用筆、筆觸的表現，一直是朱德群的油畫特色

共同組成一曲合諧且壯闊的交響樂章，渾然天成。大自然的力量在

之一。他謹記古代畫家的格言，用毛筆令世事從渾沌中脫穎而出。

此轉化為光與色的舞動，散發出扣人心弦的感染力，正如《喜悅的

他的筆觸無所忌憚，大筆刷出濕潤的韻律，在畫面上形成優美、

彌漫》標題所點出的，畫面雖是抽象，但傳達的是最真實、存在於

富涵力度的肌理。光線的運用，讓他的作品有一種古典氣勢，像古

天地之間的自然脈動。朱德群的一生皆繫於他的藝術，他專注、堅

典繪畫般的莊嚴、神聖（朱德群自稱他的「光」來自於林布蘭的啟

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

發）。他的光線除了具有光源的性質外，也與印象派相關。光線決

的枝微末節與重要篇章，儘管畫面是抽象，那情緒的起伏悸動、那

定了畫面的色彩和結構，形成色暈的交輝和意境的生成。閔希文認

思潮的湧現、那面對宇宙大地的省思與心靈感受…一再一再引領觀

為，「朱德群七十年代之後許多作品中的『光』可視為中國傳統文

者神遊其中，感動久久。老子：「大音希聲，大象無形」，如此富

化中『陰』與『陽』的關係......『光』已從『光源』散落開來，撒

於詩意的哲思，朱德群在他的作品中，已向全世界的藝術愛好者盡

到畫面的每一個角落，使世界在『陰』與『陽』的互補中獲得生

顯這至高的美感境界。

Ravenel 73

030

LI CHEN

(Taiwanese, b. 1963)

Soaring Dragon 2010 Bronze, edition number 3/8 52(L) x 36(W) x 167(H) cm Engraved Li Chen in English numbered 3/8 , dated 2010 With one seal of the artist EXHIBITED: Greatness of Spirit – Li Chen Premiere Sculpture Exhibition in Taiwan 2011 , Chiang Kai-Shek Memorial Hall, Taipei, November 6 - December 4, 2011 ILLUSTRATED: The Beacon Series: When Night Light Glimmers – Li Chen , Asia Art Center, Taipei, 2010, pp. 44-49 Greatness of spirit – Li Chen Premiere Sculpture Exhibition in Taiwan 2011 , Asia Art Center, Taipei, 2011, p. 202 This sculpture is to be sold with a certificate of authenticity issued by Asia Art Center, Taipei

HK$ 1,400,000 - HK$ 2,200,000 NT$ 5,882,000 - NT$ 9,244,000 US$ 180,400 - US$ 283,500

李真 攀龍燭 2010 銅雕 版次3/8 52（長）x 36（寬）x 167（高）cm 簽名雕刻背面：Li Chen 3/8 2010 鈐印：李真 展覽： 「大氣 – 李真臺灣大型雕塑首展2011」，中正紀念 堂，台北，展期自2011年11月6日至12月4日 圖錄： 《夜光盈昃 – 「天燧」系列 – 李真》，亞洲藝術中 心，台北，2010年，頁44-49 《大氣 – 李真台灣大型雕塑首展2011》，亞洲藝術 中心，台北，2011年，頁202 附亞洲藝術中心開立之原作保證書

SOARING DRAGON LI CHEN

When examining the artistic career of contemporary sculptor

"The Beacon – When Night Light Glimmers" series, the inspiration

Li Chen, one can see that, in his early "Beauty of Emptiness"

for which came from Li’s lighting of a candle on the family altar

series, while seeking to portray different aspects of the Buddha,

in his home ("Greatness of Spirit: Li Chen Premiere Sculpture

Li also incorporated some of his own aesthetic attitudes, so that

Exhibition in Taiwan, " Asia Art Center, 2011, p. 200). The figure

besides the religious power of the work, creating it also provided

holding the dragon-shaped candle holder has a calm, relaxed

the artist himself with an opportunity to practice Buddhist self-

expression, emanating the lightness of spirit of an ancient sage.

cultivation in his own life, and the finished work opened up new

The figure seems to float amidst the enveloping white cloud base,

artistic possibilities for contemporary Buddhist statuary. 1998 saw

like an immortal being riding the clouds. Li Chen has cleverly and

the beginnings of a shift in Li’s style; starting with his "Energy of

deliberately incorporated the element of "fire" into this work, so

Emptiness" series, one begins to see the soft, curving lines that have

that the sculpture becomes a bright light guiding the viewer along

become so characteristic of Li’s work, and from this period onwards

a spiritual path. The symbolic power of eternal flame transforms

his statutes have a distinctive roundness and fullness about them.

the sculpture into a work brimming over with vitality, making this

Although Li Chen’s creative work continued to be influenced by

a classic example of Li Chen’s work, with its refined, gentlemanly

Zen thought and other aspects of Buddhist philosophy, in his later

spirituality.

work one no longer sees figures holding Buddhist regalia or making conventional Buddhist hand movements; rather, they are shown in

當代雕塑家李真的創作歷程從最起初的空靈系列，在刻畫佛家法相時也

various kinds of “worldly” poses, laughing and happy. Besides the

融入自我美學意念，帶給觀者宗教上的慰藉之餘，也提供了藝術家自己

inherent quality of the sculpting, these later pieces also embody a

對於佛學概念的實踐，更賦予當代佛教造型美學的新格局；而創作風格

finely expressed emotional sensibility that warms the heart of the

在1998年開始轉變，「虛空中的能量」起便可見到李真標誌性圓潤線

viewer.

條，飽滿身形的雕塑作品。雖然其創作依舊帶有佛家哲思與禪意，但已 不見手持法器或手勢的形象，反倒是嬉笑淘氣的各種入世姿態，在妙趣

In an article on Li’s work entitled "Landscapes of Harmony –

橫生外，更顯真摯細膩且溫暖人心的情感。

the Sculpture of Li Chen" (included in the exhibition catalog to "Li Chen – In Search of Spiritual Space: 2008 Solo Exhibition at

中國美術館館長范迪安曾撰文〈圓融之境─李真的雕塑世界〉（《尋找

National Art Museum of China ," Asia Art Center, 2008, pp. 4 –

精神的空間，李真中國美術館個展》畫冊，亞洲藝術中心，2008，頁

5), National Art Museum of China Director Fan Di’an used the

4-5）一文評論李氏的藝術，而「圓融」一詞出自「大乘止觀」，有破

term "harmony" (yuanrong), which derives from the "Mahayana

除偏見、圓滿通融後便可悟道見佛。李真圓融的雕塑作品融合了西方簡

Teaching on Calm and Insight," where it is used to mean the

約的藝術形象，而墨黑的身軀與表層細緻的質感更顯得其作品當代感強

abandoning of preconceptions and achievement of harmony

烈，他破除了既有的法相藩籬，以獨特的造型表現原屬於東方的雕塑主

that allows one to reach enlightenment. Li Chen’s "harmonious"

題。而此作《攀龍燭》是為「夜光盈昃─天燧」系列作品，靈感來源為

sculpture incorporates the simplicity and spareness of Western

李真點燃家中佛堂燈燭而得（李真台灣大型雕塑首展，亞洲藝術中心，

sculptural forms, while his use of black bodies and detailed surface

2011，頁200）。手持降龍燭台，面貌怡然從容，如古代賢士般清風瀟

texture give his work a strongly contemporary feel. Li overturned

灑，姿態輕盈包覆在白色雲狀底座，更似騎雲而來的仙人；李氏巧妙且

the conventions of Buddhist sculpture, using his own unique

刻意地結合了「火」的元素，讓作品昇華為一座指引路途的明燈；而象

style to express sculptural themes that have a strong East Asian

徵生生不息的火也將作品本身轉化，成為一件富含生命力量的雕塑，更

character to them. This particular piece forms part of Li Chen’s

是李真嚮往文人雅士般德賢兼具的精神性作品。

Ravenel 75

PLUM BLOSSOMS PANG JIUN

"Plum Blossoms" testifies to Pang Jiun’s ingenious depiction of a romantic scenery of delicate blossoming spring florets rendering in various tones of magenta and plum that intricately laces across the canvas as it contrasts beautifully with the blue and whimsical blues of the brushes from which the blossoming branches sprouts from. It simultaneously signifies the arrival of spring, the swirling pathway of the bridge in the background appears and disappears as the branches of the blossoming trees in the foreground sway and move ever so slightly against the naturalistic spring breeze, creating a boundless visual illusion in various tones of grey that stimulates one’s imagination. It entices one to ponder upon the beauty of mother nature as the water sparkles and reflects a mirror image of the mountain tops nearby. Pang Jiun imbibes and transforms the realist tradition and a classical heritage of literati painting in deriving an artistic vocabulary that is uniquely his through his magnificent use of the color palette. Pang once posits "The sceneries of China are encompassed by majestic mountains

and profound waters, exalted yet ethereal in their misty grey tones. I was enlightened as to why texture strokes are an integral part of Chinese painting while I was sketching on Huangshan, but also realized that the true difficulty lay in the representation of these transient greys. The landscapes I painted during the Cultural Revolution were appreciated for their muted color; back then, I was known as Pang Jiun, the man who drew in greys. This was because my contemplations on China’s magnificent sceneries convinced me that gradient greys were the only colors that could truly embody the poeticism and ephemerality of Chinese verse as well as the diffidence and restraint of our profound, hidden emotions. These are all manifestations of the same spirituality. " 《春江花開時》以深深淺淺的紫紅、桃紅細細描繪出春天盛開的桃林， 顯現出龎均的妙筆生花，好一處詩意風光。桃枝纖細交錯，橫過畫布， 襯著後頭瀟灑恣意的藍色筆觸，盛放的桃枝正是由此冒出，同時也象徵 春天降臨。背景中一座曲橋掩掩映映，前景中開花的桃枝倚著自然主義 的春風搖曳，創造出一片無垠的、深淺灰色調子的視覺幻象，讓觀者浮 想連翩。水光瀲灩，映出附近山峰的倒影，讓人忍不住深思自然之美。 龎均汲取寫實主義及文人畫的傳統又加以轉化，藉由對色彩的高妙運用 鎔鑄出一套獨樹一格的藝術語彙。龎均曾說「大陸是屬於大山大水的情 景，有一種灰調子，我在黃山寫生時就體驗到為什麼國畫有皴法的產 生，但還有一個難題，就是在這個灰調子的表現上。我在文革時的風景 畫就是因為這個灰色調的表現而被人喜歡。大家都知道有一個畫灰調子 的龎均。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飄渺，和中國人所隱藏的情感收斂 深沉，這都是同一個精神性。」

031

PANG JIUN

(Chinese, b. 1936)

Plum Blossoms 2010 Oil on canvas 72.7 x 91 cm

龎均 春江花開時

Signed lower right Pang Jiun in Chinese and dated 2010 With one painted seal of the artist

2010 油彩 畫布 72.7 x 91 cm

This painting is to be sold with a certificate of authenticity signed by the artist.

簽名右下：龎均 2010 手繪鈐印右下：均

HK$ 280,000 - HK$ 380,000 NT$ 1,176,000 - NT$ 1,597,000 US$ 36,100 - US$ 49,000

附藝術家親筆簽名之原作保證書

Ravenel 77

龎均眼中的東方之珠

「我的風景畫就是因為這個灰色調的表現而被人喜歡。因為這也應驗了在中國詩詞裡的韻味和 飄渺，和中國人所隱藏的情感收斂深沉，這都是同一個精神性。」 – 龎均

"Hong Kong – Eastern Pearl" testifies to the splendor of the

late Qi Baishi. As Qi Baishi once posits, "The art of painting lies

Eastern Pearl through Pang Jiun’s magnificent amalgamation of

in treading the fine line between likeness and unlikeness: if your

Classical elements of the late Impressionism and the spiritual

work does not resemble your subject at all, you are just a cheat;

poetic quality and aesthetic philosophy of Chinese ink painting, the

if it resembles it too much, you are just producing kitsch. " The

incorporation of these sentiments result in the liberated and lively

resulting pictorial effect is one that it is both modern and classical

aura of Pang Jiun's unique artistic approach. The Impressionist

simultaneously, where the vicissitudes of time are transpires

notion of instantaneity is transpired through the comprehension

into a boundless poetic and peaceful scenery that parallels the

of a sense of time, as the painting captivates an instantaneous

Classical Literati Tradition. The essential element that lies at the

moment in time that is both nostalgic and modern as the perfect

core of Pang's artistic practice is the way in which he observes and

evocation of terrain and mountainous scape in the background

expresses his subject matter in the objective world, embodying

rendered in the artist’s signature sublime monochromatic grey

his thoughts, inspirations, and feelings that remains endearing to

tones frames the various amalgamation of buildings extenuating

Pang’s heart.

the skyscraper HSBC head quarters on the left. This backdrop contrasts greatly with the cruises and fishing boats that have

《香港 – 東方之珠》一畫所呈現的是東方之珠的耀眼光彩。畫中同時

historically been a trademark of Hong Kong as a fishing port and

具有後印象派的古典元素，以及中國水墨畫的詩意美學，兼容並蓄，龎

a stage of international commerce. The artist has deliberately

均以這樣獨特創作手法，營造出自由而生動的氛圍。這幅畫捕捉住時光

imbued this sight of the prosperous business developments of

洪流中的一瞬，既懷舊又具有現代感，而背景以畫家著名的灰調子描

the city with a munificent dexterity through the utilization of

繪，與周遭的地景和山景互相映襯。左半部勾勒許多並連的建築，襯托

vibrant colors including yellow, red, blue and green. Pang’s often

出滙豐銀行總部的摩天大樓。印象派畫家的「即時性」，在這裡透過對

referenced the Beethoven in his writings on artistic techniques in

時間感全表達出來。香港既是漁港，也是國際貿易的重鎮，畫面前方的

his publications. In this regard, one could almost hear the echoes of

船隻和釣船深具歷史意義，與後方的背景明顯對比。藝術家有意靈活運

the Symphony No. 6 through the ambiance derived from the lyrical

用黃、紅、藍、綠等活潑色彩，呈現出商業活動蓬勃發展的繁榮市景。

brushstrokes of the flowing vehicles on the highway, full of cadence

龎均經常在討論藝術技巧的著述中提及貝多芬，基於如此，畫家以豐沛

and graceful flowing rhythm that transpires a sense of musicality

情感勾勒出高速公路上奔馳的車輛，充滿節奏和優雅的律動，音樂性深

deeply entrenched into the composition.

植畫作中，彷彿幾乎可聽見第六號交響曲《田園》在耳邊迴盪。

Incidentally, the compositional arrangement of the present lot

這幅畫的構圖安排，不僅捕捉這座美麗之都的現況，同時也描繪出香港

not only captivates the current state of affairs in the beautiful city

的各種樣貌，熱絡的國際貿易市景，對比畫面前景寧靜而蓊鬱的樹林。

of Hong Kong, it encompasses the city’s many different facets as

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

areas of established international commerce contrasts significantly

廓，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

with the tranquil greens of the forestry in the foreground. The

用的藝術美學。龎均以獨創的油畫風格，頗似晚期的齊白石，說明著龎

potent lines and simple figuration composed of a freehand style of

均著重寫意，表現對象的精神，正是齊白石所謂的「妙在似與不似之

calligraphic strokes and rhythms enhance the composition with the

間，不似為欺世，太似為媚俗」。因此，他的畫作融合古典與現代，時

ethereal beauty of Western tradition, while it is further imbue by

間雖然變幻無常，卻在此處化作詩意無窮的平和景緻，藴涵東方文人畫

Pang’s unique ability to capture the essence of his subjects through

的詩情畫意。龎均的畫作，注重將觀察到的現實世界表達出來，同時也

the employment of a freehand (xieyi) approach reminiscent of the

體現出他內心深層的思想、靈感和感受。

032

PANG JIUN

(Chinese, b. 1936)

Hong Kong – Eastern Pearl 2013 Oil on canvas 72 x 90 cm

龎均 香港 － 東方之珠

Signed lower left Pang Jiun in Chinese and dated 2013 With one painted seal of the artist

2013 油彩 畫布 72 x 90 cm

This painting is to be sold with a certificate of authenticity signed by the artist.

簽名左下：龎均 2013 手繪鈐印左下：均

HK$ 360,000 - HK$ 550,000 NT$ 1,513,000 - NT$ 2,311,000 US$ 46,400 - US$ 70,900

附藝術家親筆簽名之原作保證書

Ravenel 79

033

WANG KEPING

(Chinese, b. 1949)

Untitled c. 1998 Wooden sculpture 51 (L) x 26 (W) x 40 (H) cm Engraved on the reverse Wang in Chinese and K in English

HK$ 150,000 - HK$ 240,000 NT$ 630,000 - NT$ 1,008,000 US$ 19,300 - US$ 30,900

王克平 無題 約1998 木雕 51（長）x 26（寬）x 40（高）cm 雕刻簽名畫背：王K

Ravenel 81

034

JIN WEIHONG

(Chinese, b. 1967)

Untitled c. 2012 Ink and color on paper 32.5 x 135.5 cm Signed lower right Weihong and inscribed in Nanjing With two seals of the artist ILLUSTRATED: World Art , No. 117, issue of November 2012, Hong Kong, color illustrated

HK$ 42,000 - HK$ 60,000 NT$ 176,000 - NT$ 252,000 US$ 5,400 - US$ 7,700

靳衛紅 無題 約2012 彩墨 紙本 32.5 x 135.5 cm 簽名右下：衛紅於金陵 鈐印右下：衛紅 鈐印左下：衛紅 圖錄： 《世界藝術》117期，2012年11月號，香港，彩色圖版

Jin Weihong, born in Jiangsu, 1967. Graduated from Nanjing

Works like this have led the artist to engage in self-reflection,

Art Institute, Art Department, Major in Chinese Paintings in

with two assembled human bodies simultaneously depending

1985. Now living and working in Nanjing. Her major exhibitions

and lingering on each other's emotion. It is common for artists to

including Male and Female, Li Jin and Jin Weihong Ink Art

mirror their own emotions in order to relieve self-anxieties. " (Ref.

Touring Exhibition , Today Art Museum, Beijing (2015); Male and

ShanghArt Gallery Artist Introduction)

Female, Poetry Calligraphy Painting Magazine's First Annual Exhibition , Shandong Art Museum (2014); An Exhibition on

靳衛紅，1967年生於江蘇，1985年畢業於南京藝術學院美術系中國

Jin Weihong's Ink Works , 99 Gallery, Aschaffenbury, Germany

畫專業，現生活、工作於江蘇南京。重要參展有：「男•女—李津、

(2010); The 3th Taipei International Modern Ink Painting Biennial ,

靳衛紅水墨藝術展巡迴展」，今日美術館，北京（2015）；「第一屆

National Museum of Taiwan Painting Biennial, Taipei, Taiwan

《詩書畫》年度展——男•女」，山東美術館（2014）：「靳衛紅作

(2010); Contemporary Ink Painting , Shanghai New Ink Painting

品展」，99 畫廊，愛莎芬堡，德國（2010）；「第三屆台北當代水

Exhibition 2009, Duolun Museum of Modern Art, Shanghai

墨雙年展」，台北國立歷史博物館，台灣（2010）；「水墨當下，上

(2009); Ink Painting. City, The 6th International Ink Painting

海新水墨大展」，多倫美術館，上海（2009）；「水墨·都市，第六

Biennial Shenzhen , Shenzhen Museum, Shenzhen (2008); The 3rd

屆深圳國際水墨雙年展」，深圳博物館，深圳（2008）；「第三屆成

Chengdu Biennale , Chengdu Gallery of Modern Art, Chengdu

都雙年展」，成都現代藝術館，成都（2007）；「秘火：靳衛紅水墨

(2007); Hidden Fire: An Exhibition on Jin Weihong's Ink Painting ,

作品展」，朱屺瞻藝術館，上海（2006）；「今日中國美術大展」，

Zhu Qizhan Art Museum, Shanghai (2006); Chinese Art Today

中國美術館，北京（2006）等。

Exhibition , National Art Museum of China, Beijing (2006) etc. 「靳衛紅畫的人物往往冷得出奇，無欲無求，全然沒有飲食男女的世

"The figures in Jin Weihong's paintings are surprisingly gentle

俗生活印象，她們是一個個徒具女人性徵和軀殼的遊魂。走神的眼

and relaxed, detached from all the desires and demands of any

神，透露出對現實的抗拒和精神世界的渴求，她們甚至是中性的人，

ordinary human in the modern world. Though seemingly female

或是性別淡化的人。她們孤零零地寄生在水墨畫的傳統圖式和語境之

they are truly androgynous, or at least they are supposed to

中，表達著藝術家對自我和自然人性的亙古疑惑和考問。由於無性，

seem so. Going against traditional painting patterns and context,

所以孤單。靳衛紅筆下的人物和人體，是自我焦慮的一種人格化的寫

their distinct loneliness is an everlasting search of the artist for

照。由於十分隨意地抽離了諸多體徵和感性細節，因而憑添一份理性

ego and humanity. Sexless, and thus lonely, Jin's human figures

色彩。她們無悲無喜，卻互為依靠，互相取暖。自我克隆是自我焦慮

project a personification of her own anxieties. Deprived of certain

者在釋放焦慮，平復心境過程中通常使用的一種形式和方法。」（參

body features and sensitive details, they are cold and rational.

閱香格納畫廊藝術家簡介）

Ravenel 83

035

LAMPO LEONG

(Chinese-American, b. 1961)

Emanation XVI 2015 Ink on paper 145 x 88.5 cm Signed lower right Lampo in Chinese and Lampo Leong in English With two seals of the artist

梁藍波 圓融 XVI 2015 水墨 紙本 145 x 88.5 cm

PROVENANCE: Private collection, Asia

簽名右下：藍波 Lampo Leong 鈐印右下：梁 鈐印左下：藍波

HK$ 40,000 - HK$ 60,000 NT$ 168,000 - NT$ 252,000 US$ 5,200 - US$ 7,700

來源： 私人收藏，亞洲

036

LAM TIAN XING

(Chinese, b. 1963)

Gazing Afar 2015 Ink and color on paper 43.5 x 52.5 cm

林天行 望遠

Signed lower left Lam Tian Xing in Chinese, dated year of 2015 in Chinese With three seals of the artist

2015 彩墨 紙本 43.5 x 52.5 cm

HK$ 48,000 - HK$ 70,000 NT$ 202,000 - NT$ 294,000 US$ 6,200 - US$ 9,000

簽名左下：林天行 二Ｏ一五年 鈐印左下：林天行印 鈐印右上：林 鈐印右下：大也堂主 Ravenel 85

037

GUO RUI

(Chinese, b. 1977)

Summer of 2006 No. 3 2006 Acrylic on canvas 150 x 120 cm Signed lower right Guo Rui in Chinese and dated August of 2006 in Chinese Signed on the reverse Guo Rui in Chinese, titled "Summer of 2006 No. 3 " in Chinese, inscribed 150 x 120 acrylic on canvas in Chinese

HK$ 50,000 - HK$ 80,000 NT$ 210,000 - NT$ 336,000 US$ 6,400 - US$ 10,300

郭銳 2006夏03號 2006 壓克力 畫布 150 x 120 cm 簽名右下：郭銳 零六年八月 簽名題識畫背：郭銳《2006夏03號》150 x 120 布面丙烯

038

CHENG TSAI-TUNG

(ZHENG Zaidong, Taiwanese, b. 1953)

Setting Aside the Zither, I Stand Looking at the Chilly Moon; Breaking Up a Lotus to Patch up My Cold Sleeves; Opening the Mirror, I See My Declining Face (A set of two) 2003 Oil on canvas 100 x 80 cm (each) Signed lower right Cheng Tsai-tung in Chinese and dated 03 (both) Inscribed lower right Setting Aside the Zither, I Stand Looking at the Chilly Moon , (left); Breaking Up a Lotus to Patch up My Cold Sleeves; Opening the Mirror, I See My Declining Face (right) in Chinese NOTE: The poem is inspired from the poem of "Professing Sickness, I Return to My Garden: Informing My Relatives and Associates " written by the poet named Xie Tiao dated to the Southern Qi.

鄭在東 停琴佇涼月，滅燭聽歸鴻；折荷葺寒袂， 開鏡眄衰容（兩件一組） 2003 油彩 畫布 100 x 80 cm（每幅） 簽名右下：鄭在東'03（兩件） 題識右下：停琴佇涼月，滅燭聽歸鴻 （左）；折荷葺寒袂，開鏡眄衰容（右） 註：借用南齊詩人謝朓《移病還園示親属》 的詩句入畫

HK$ 80,000 - HK$ 120,000 NT$ 336,000 - NT$ 504,000 US$ 10,300 - US$ 15,500 Ravenel 87

039

SHA QI

(SADJI, Chinese, 1914 - 2005)

Femme nue chinoise 1981 Oil on canvas 60.5 x 50 cm Signed lower left Sadji in Chinese and dated June of 1981 in Chinese PROVENANCE: Private collection, Belgium

HK$ 150,000 - HK$ 240,000 NT$ 630,000 - NT$ 1,008,000 US$ 19,300 - US$ 30,900

沙耆 裸女 1981 油彩 畫布 60.5 x 50 cm 簽名左下：沙耆一九八一年六月 來源： 私人收藏，比利時

Ravenel 89

040

CHANG CHIH-CHENG (Taiwanese, b. 1954)

Ginger Lily 1997 Oil on canvas 60.5 x 50 cm Signed lower right CHANG in English Signed on the reverse CHANG CHIH-CHENG in Chinese and English, titled Ginger Lily in Chinese, inscribed oil on canvas , 12F , and dated 1997

HK$ 12,000 - HK$ 18,000 NT$ 50,000 - NT$ 76,000 US$ 1,500 - US$ 2,300

張志成 薑花 1997 油彩 畫布 60.5 x 50 cm 簽名右下：CHANG 簽名題識畫背：張志成 CHANG CHIH-CHENG 1997 油彩 畫布 12F 薑花

041

CHANG CHIH-CHENG (Taiwanese, b. 1954)

Middle Ground 1996 Oil on canvas 60.5 x 91 cm Signed on the reverse CHANG CHIH-CHENG in Chinese and English, titled Middle Ground in Chinese, inscribed oil on canvas, 30M = 91 x 60.5 cm , and dated 1996

HK$ 20,000 - HK$ 30,000 NT$ 84,000 - NT$ 126,000 US$ 2,600 - US$ 3,900

張志成 中間地帶 1996 油彩 畫布 60.5 x 91 cm 簽名題識畫背：☐120張志成 CHANG CHIH-CHENG 1996 油畫畫布 30M = 91 x 60.5（公分）cm 中間地帶

Ravenel 91

042

YU PENG

(Taiwanese, 1955 - 2014)

Wind Moon Eternity 1993 Ink and color on paper 68.5 x 69 cm Signed on the bottom Yu Peng in Chinese and dated 1993 PROVENANCE: Hanart Gallery, Hong Kong Private collection, Melbourne

HK$ 24,000 - HK$ 36,000 NT$ 101,000 - NT$ 151,000 US$ 3,100 - US$ 4,600

于彭 風花雪月 1993 彩墨 紙本 68.5 x 69 cm 簽名下方：于彭 一九九三 來源： 漢雅軒 香港 私人收藏 墨爾本

043

YU PENG

(Taiwanese, 1955 - 2014)

Mother and Child 1994 Oil on canvas 162 x 112 cm Signed lower right Yu Peng in Chinese and dated 1994

HK$ 150,000 - HK$ 240,000 NT$ 630,000 - NT$ 1,008,000 US$ 19,300 - US$ 30,900

于彭 母與子 1994 油彩 畫布 162 x 112 cm 簽名右下：1994 于彭

Ravenel 93

044

WALASSE TING

(Chinese-American, 1920 - 2010)

Watermelon Acrylic on paper 43 x 62.5 cm With one seal of the artist PROVENANCE: Private collection, Netherlands

HK$ 36,000 - HK$ 55,000 NT$ 151,000 - NT$ 231,000 US$ 4,600 - US$ 7,100

丁雄泉 甜西瓜 壓克力 紙本 43 x 62.5 cm 鈐印右下：採花大盜 來源： 私人收藏，荷蘭

045

WALASSE TING

(Chinese-American, 1920 - 2010)

Parrots Acrylic on paper 47.5 x 63 cm With one seal of the artist PROVENANCE: Private collection, Netherlands

HK$ 48,000 - HK$ 70,000 NT$ 202,000 - NT$ 294,000 US$ 6,200 - US$ 9,000

丁雄泉 愛情鳥 壓克力 紙本 47.5 x 63 cm 鈐印右下：採花大盜 來源： 私人收藏，荷蘭

Ravenel 95

046

WALASSE TING

(Chinese-American, 1920 - 2010)

Black and White Cat Acrylic on paper 49 x 64.5 cm With one seal of the artist PROVENANCE: Bert Kuipers Kunsthandel, Netherlands Private collection, Netherlands

HK$ 40,000 - HK$ 60,000 NT$ 168,000 - NT$ 252,000 US$ 5,200 - US$ 7,700

丁雄泉 花園裡的黑白貓 壓克力 紙本 49 x 64.5 cm 鈐印右下：採花大盜 來源： 伯特•庫佩斯拍賣，荷蘭 私人收藏，荷蘭

047

WALASSE TING

(Chinese-American, 1920 - 2010)

Flowers Acrylic on paper 60 x 97 cm With one seal of the artist PROVENANCE: Private collection, Netherlands

HK$ 65,000 - HK$ 100,000 NT$ 273,000 - NT$ 420,000 US$ 8,400 - US$ 12,900

丁雄泉 花顏逐開 壓克力 紙本 60 x 97 cm 鈐印右上：採花大盜 來源： 私人收藏，荷蘭

Ravenel 97

048

DING YAN-YONG

(Chinese, 1902 - 1978)

Orchid Painting 1962 Ink on paper mounted on handscroll 30 x 350 cm Signed lower left written by Ding Yan-yong, originated from a poem on a painting of orchid by Cheng Ban-chiao (Zheng Xie, Chinese, 1693-1765) With two seals of the artist Inscriptions: Spring rain and gentle breeze give rise to angelic mien, An ethereal spirit descends upon our midst.

In the absence of a confidant beloved, You break the pot and return to your celestial realm.

PROVENANCE: Private collection, Taipei

HK$ 85,000 - HK$ 130,000 NT$ 357,000 - NT$ 546,000 US$ 11,000 - US$ 16,800

丁衍庸 蘭花圖 1962 水墨 紙本 卷軸 30 x 350 cm 款識左側：壬寅春日 丁衍庸寫 並錄板橋道人句 鈐印左下：丁氏、肖形 釋文： 春風春雨寫妙顏，幽情逸韵落人間。 而今到底無知己，打破烏盆更入山。 來源： 私人收藏，台北 (十多年前購自上海友人)

Spring rain and gentle breeze give rise to angelic mien, 春雨春風寫妙顏 An ethereal spirit descends upon our midst. 幽情逸韵落人間 In the absence of a confidant beloved, 而今到底無知己 You break the pot and return to your celestial realm. 打破烏盆更入山

For many Chinese literati and painters, the orchid was regarded

and seal carving arts. Liberal calligraphic strokes are naturally

as a fragrant herb, a cultural symbol that denoted elegance and

subsumed into the structure of the painting while wisteria

gentility. As a representation of the pursuit of character and

vines and orchids infuse a sense of vivacious "refreshment."

moral strength, the orchid was both an aesthetic object as well as

Bold, confident brush strokes clearly delineate the contours

a carrier of sentiments and emotions.

of mountains and fragrant herbage upon a novel layout that ingeniously retains blanks on the canvas so as to illustrate a

Often commended as the "Matisse of the East," Ding went to

profound artistic intention. With its portrayal of fragrant dew and

Japan and studied Western painting at Tokyo College of Fine

refreshing breeze, the painting reveal a sense of esoteric, tranquil

Arts early in his career. He was particularly fascinated by the

Oriental charm.

style of Matisse, the celebrated fauvism master, during his time in Japan. He began to reform traditional Chinese painting after

在中國古代的大部分文人畫家眼裡，蘭即香草，傳達著幽遠淡雅這一

returning to China by advocating the "New Art Movement." He

文化符號。作為一種操守和德行追求的表示物，即是表情達意的一個

asserted that art should be "a return to its origin," and believed

載體，也可以作為一種美感的物件。

that the artistic forms should be as "simple" and "naïve" as children’s doodles while their content should be as "profound"

被冠以「東方馬蒂斯」之稱的丁衍庸早年留學日本，就讀於東京美術

and "complex" as possible in their guileless conveyance of

學校主修西畫。期間猶醉心野獸畫派大師馬蒂斯畫風。歸國後就改革

boundless meaning. He further exalted the propensity towards

中國傳統繪畫而倡導「新藝術運動」。主張「極力還原」，推崇回歸

simplicity and exaggeration of works by Bada Shanren, who,

兒童般「單純」而又「稚拙」的繪畫形式，內容卻要「廣大」而「複

working with brushstrokes as artless as spontaneous doodles,

雜」，雖寥寥數筆卻意味無窮。進一步發揚八大山人簡率、誇張的傾

had the ability of turning a touch into a mountain and a stroke

向，一抹成山，一筆成象，近乎信手塗鴉。筆墨間濃淡枯濕，墨分五

into an elephant. Ding skillfully employs various shades and

色，淋漓盡致地表現於毫褚之間。

densities of ink in the manifestation of masterly skills and dynamic brush strokes.

此畫作「竭力在線條上做功夫」，以擅長花鳥、山水畫擷傳統技法之 特點，配書法、篆刻。其書法恣肆縱逸，與繪畫渾然一體，自成一

This work was an "endeavor to expertly contour the lines," and

格。藤花與蘭花又富予一種明快的「清涼味」。幽山香草間畫筆觸膽

features iconic Chinese bird-and-flower and landscape painting

大豪放，佈局革新，留白巧妙，意境深遠。香露清風透出一股含蓄、

techniques complemented by his mastery of the calligraphy

幽沉的東方韻味。

Ravenel 99

049

WANG LAN

(Chinese, 1922 - 2003)

Opera Figures 1979 Watercolor on paper 39 x 57 cm Signed lower right Wang Lan in Chinese and dated 1979 PROVENANCE: Collection of Connie Stevens, American Actress, Los Angeles (A gift from the artist since 1980) Private collection, Los Angeles

HK$ 22,000 - HK$ 34,000 NT$ 92,000 - NT$ 143,000 US$ 2,800 - US$ 4,400

王藍 戲劇人物 1979 水彩 紙本 39 x 57 cm 簽名右下：王藍 一九七九 來源： 美國女星康尼•史蒂文斯收藏（1980年得 自藝術家本人贈與） 私人收藏，洛杉磯

050

HSIA YIFU

(Chinese, b. 1927)

Landscape 2012 Ink on paper 34 x 43 cm

夏一夫 山水

Signed lower left Yifu in Chinese With one seal of the artist

2012 水墨 紙本 34 x 43 cm

This painting is to be sold with a certificate of authenticity issued by PiaoPiao Gallery, Taipei.

簽名左下：一夫 鈐印左下：夫

HK$ 46,000 - HK$ 70,000 NT$ 193,000 - NT$ 294,000 US$ 5,900 - US$ 9,000

附一票人票畫空間開立及藝術家簽名之原作保證書

Ravenel 101

051

YU CHENG-YAO

(Taiwanese, 1898 - 1993)

Calligraphy in Running Script Ink on paper 40 x 73 cm

余承堯

With one seal of the artist

水墨 紙本 40 x 73 cm

Inscriptions: Presented in Spring to the Senior Mr. Yue. The fields in the countryside are particularly lush, an opportune season for retirement.

The spring water remains among the rocks, watering the flowers and plants, And the paradise on the seas, like spring, will not age.

The tall pine trees stands among the clouds, The clamor of the human world cannot be heard here and this is a perfect place to sing.

Successful people are kind, generous and loved by the people.

Their nature wins them the admiration of the people, Just like the lush and flourishing mountain green.

Your Junior, Yu Cheng Yao PROVENANCE: Han Tang Arts & Culture Center, Taipei Private collection, Asia Note: This work was written by Yu Cheng-yao for the deceased prominent member of the Kuomintang, Chang Chun, also known as Zhang Yuejun.

HK$ 20,000 - HK$ 30,000 NT$ 84,000 - NT$ 126,000 US$ 2,600 - US$ 3,900

行書 春日奉呈

鈐印左下：余承堯印 釋文： 春日奉呈 岳公前輩大老教正 郊垌退養正時昌 泉石風清花樹芳 海上蓬萊春不老 高松流翠紫雲長 塵湧不聞好放吟 達人兼善繫人心 曲江風度群流仰 山岳崇華積翠深 後學余承堯 來源： 漢唐樂府收藏，台北 私人收藏，台灣 註：此作為余承堯為已故中國國民黨元老張群 所作。張群，字岳軍，人稱岳公。

052

YU CHENG-YAO

(Taiwanese, 1898 - 1993)

Calligraphy in Cursive Script 1990 Ink on paper 33.5 x 170.5 cm Signed lower left Yu Cheng-yao in Chinese, dated summer of 1990 in Chinese With one seal of the artist PROVENANCE: Han Tang Arts & Culture Center, Taipei Private collection, Taiwan

HK$ 30,000 - HK$ 50,000 NT$ 126,000 - NT$ 210,000 US$ 3,900 - US$ 6,400

余承堯 草書橫長幅 1990 水墨 紙本 33.5 x 170.5 cm 簽名左下：庚午夏日舊作余承堯 鈐印左下：余承堯印 來源： 漢唐樂府收藏，台北 私人收藏，台灣

Ravenel 103

053

WANG JI QIAN

(Chinese, 1906 - 2002)

Joyful Banqueting Ink on paper 68 x 67cm Signed lower right Ji Qian in Chinese With two seals of the artist

王季遷 絃歌酒讌 水墨 紙本 68 x 67cm

EXHIBITED: Without Boundaries – Prof. Joan Stanley-Baker's Collection , Kao Yuan Art Center, Kaohsiung, March 8 – 31, 2005

簽名右下：己千 鈐印上方：溪岸草堂 鈐印右下：王季遷

PROVENANCE: Collection of Joan Stanley-Baker

展覽： 「無界線：徐小虎教授收藏展」，高苑藝文中心， 高雄，展期自2005年3月8日至3月31日

HK$ 28,000 - HK$ 42,000 NT$ 118,000 - NT$ 176,000 US$ 3,600 - US$ 5,400

來源： 徐小虎舊藏

054

LIN WEN-CHIANG

(Taiwanese, b. 1943)

Abundant Harvest 1993 Oil and acrylic on canvas 80 x 65 cm Signed lower left Wen-chiang in Chinese ILLUSTRATED: Lin Wen-chiang: Dialogue Between the Local and the International , Galerie Elegance curated, Lin Wen-chiang published, Taipei, 1993, color illustrated

HK$ 50,000 - HK$ 75,000 NT$ 210,000 - NT$ 315,000 US$ 6,400 - US$ 9,700

林文強 豐收 1993 油彩 壓克力 畫布 80 x 65 cm 簽名左下：文強 圖錄： 《林文強：本土與國際的對話》，愛力根畫廊策畫， 林文強出版，台北，1993，彩色圖版

Ravenel 105

055

HE BAILI

(Chinese, b. 1945)

Autumn Landscape 2014-2015 Ink and color on paper 71 x 71 cm

何百里 秋色百里 2014-2015 彩墨 紙本 71 x 71 cm

Signed lower right Baili in Chinese With four seals of the artist EXHIBITED: Ink Asia 2015 , Hong Kong Convention and Exhibition Center, Hong Kong, December18 – December 20, 2015

簽名右下：百里 鈐印右下：何 百里 鈐印左上：自在軒 鈐印左下：百里畫印

HK$ 340,000 - HK$ 500,000 NT$ 1,429,000 - NT$ 2,101,000 US$ 43,800 - US$ 64,400

展覽： 「水墨藝博2015」，香港會議展覽中心， 香港 ， 展期自2015年12月18日至12月20日

Born in Guangzhou in 1945, He Baili moved to Hong Kong at a

ink is imposing and natural. The seas of trees and the thin mist

young age. From the 60s to the 70s, his style turned from sketching

outlined with cotton white perfectly show a moist and harmonious

to ink wash landscape painting. He received his education in

temperament, allowing viewers to delve into infinite imagination.

Hong Kong and joined the "Lingnan School," one of the three

Influenced by Western painting style, He preferred gentle and

revolutionary art movements in the contemporary Chinese art

elegant use of ink, making a peaceful and refreshing design on the

scene. In the process of seeking the future of Chinese painting

canvas. Such a use of brush and ink was considered a new style

under global art trends, the Lingnan School became the art school

of the Lingnan School. The freehand landscape filled with spirited

that had the deepest influence on the refinement of Chinese

ink and color wash creates an otherworldly artistic realm, which

painting. As the successor to Lingnan School. He concentrated on

is indeed a new direction of modern Chinese landscape painting.

studying paintings of the Song and Yuan dynasties after moving to

The multi-colored maple trees and rosy clouds pervade the whole

Canada in 1984. He originated a freehand style that "combined the

canvas.

techniques of splash ink, break ink, ink staining and color blending wash," showing the infinite force of life in nature in Chinese

何百里，生於廣州，後遷居香港，早年致力傳統山水畫創作。1960至

painting.

1970年代，由濃厚寫生氣息轉變為潑墨大寫意山水，在香港接受教育， 並入門「嶺南畫派」。暨中國現代美術革命三大思潮之一，為研討國畫

Canada’s fall foliage, especially during the time the mountains turn

在世界美術潮流中的出路問題，影響傳統國畫改良最為深遠派別。其身

red with maple leaves, inspired He, who has lived there for 20 years,

為「嶺南畫派」傳人，1984年移居加拿大後，潛心研究宋元繪畫，又以

to create Autumn. Chinese literati often used maple leaves in their

獨創寫意之法「揉合潑墨、破墨、漬墨、潑彩和混色渲染法」為國畫新

poems to signify their yearning and reminisce about the past. In

貌盡顯大自然無窮幻化之生命力。

China, autumn has long been associated with solitude. However, He adopted a new perspective to depict his Autumn by combining

此幅作品《秋色百里》實為漫天楓葉賦予旅居加國廿載的何百里創作靈

the Western style with cinnabar and qing wo (a blue-green mineral

感，尤其是楓葉紅遍山嶺之時。古人常以楓葉入詩詞，表達相思之情，

pigment). He devoted himself to developing a new painting skill,

追憶往事。自古逢秋悲寂寥，而在這幅《秋色百里》中何百里運用新視

which portrays the landscape in nature while at the same time

角重寫山水，丹青融合西式畫法有很多嘗試。何氏之潛心研習新繪畫技

convey the essential feelings in traditional culture.

藝，既寫自然造化之景，更抒傳統文化之情懷。

The painter employed vivid and bright tones and painted leaves in

畫家用色鮮豔，樹葉或亮黃，或醬紅，全畫構圖緊密，設色雅麗，但亦

bright yellow or garnet with a compact composition and elegant

有別於習見沒骨山水。霧朦朦，見得紅葉燦爛；山輕輕，清泉飛濺而

coloration, but the style was different from the well-known boneless

下；雲盈盈，遠山若隱若現。其樹法尤為別致，氤氳一片瀰漫而開成一

landscape technique. Red leaves shine through misty air. Clear

片，前後相互比襯，富於裝飾意趣；注重水與墨以及水色彩的交融，水

springs tumble from the steep hill. The mountain afar is faintly

墨與濃墨的交融間水氣浮現於紙面。墨華間暈開的殷紅極為醒目而自

discernible behind the puffy clouds. The way he depicted the

然，片片而就的林叢，布白勾勒的薄霧，恰到好處的表現出一股祥和潤

trees was particularly delicate. Dense mist pervades a sea of trees,

澤之氣，給人以無限的想像空間。其畫技受西洋繪畫藝術之色彩影響，

mirroring each other in a highly decorative method. He emphasized

用筆、用墨淡雅、溫潤，畫面恬靜、清逸。這種筆墨形式堪稱「嶺南畫

the mixture of wash; ink and color, making water vapor emerge

派」的一股新風。水墨淋漓的寫意山水，墨彩靈動，境界脫俗，極具個

from wash ink and thick ink. The bright red halo surfacing from the

人風格，是中國現代山水畫的一個新方向。秋樹五彩斑斕，雲霞滿紙。

Ravenel 107

056

ZHANG LUJIANG

No. 1

No. 2

No. 3

No. 4

No. 5

No. 6

(Chinese, b. 1962)

Landscape Series (A set of six) 2005 Oil on canvas 41 x 41 cm (each) Signed lower right Lujiang and dated 05 (No. 1) Signed upper right Lujiang and dated 05 (No. 2) Signed upper right Lujiang , initialed LJ and dated 05 (No. 3) Signed upper right Lujiang and dated 05 (No. 4) Signed upper right Lujiang , initialed LJ and dated 05 (No. 5) Signed upper right Lujiang (No. 6)

HK$ 70,000 - HK$ 110,000 NT$ 294,000 - NT$ 462,000 US$ 9,000 - US$ 14,200

張路江 風景系列（6件1組） 2005 油彩 畫布 41 x 41 cm（每幅） 簽名右下：路江 05（No. 1） 簽名右上：路江 05（No. 2） 簽名右上：路江 05 LJ（No. 3） 簽名右上：路江 05（No. 4） 簽名右上：路江 05 LJ（No. 5） 簽名右上：路江（No. 6）

057

SHEN HANWU

(Chinese, b. 1950)

Illumination Oil on canvas 75 x 60 cm Signed lower right Shen Hanwu in Chinese and initialed H.W. Shen in English

HK$ 100,000 - HK$ 150,000 NT$ 420,000 - NT$ 630,000 US$ 12,900 - US$ 19,300

沈漢武 暖光 油彩 畫布 75 x 60 cm 簽名右下：沈漢武 H. W. Shen

Ravenel 109

058

GAO HUIJUN

(Chinese, b. 1966)

Reciting Poems 2004 Acrylic on canvas 60 x 80 cm Signed on the reverse He Shang in Chinese, G. Huijun in English, titled Reciting Poems in Chinese, dated October of 2004 With four hand painted seal marks of the artist EXHIBITED: Simplified. Hong Kong – Contemporary Art , Hong Kong, April 12 – May 12, 2005

HK$ 38,000 - HK$ 60,000 NT$ 160,000 - NT$ 252,000 US$ 4,900 - US$ 7,700

高惠君 吟詩圖 2004 壓克力 畫布 60 x 80 cm 簽名題識畫背：吟詩圖 河上 G. Huijun 2004.10 手繪鈐印上方：恩來同志主席意見 河上 皇上后媽御覽之 寶 蔡席珍藏 展覽： 「簡體•香港：當代藝術展」，香港國際展覽策劃有限 公司，香港，展期自2005年4月12日至5月12日

059

LIN TIANLU

(Chinese, b. 1974)

Birth of Monkey King 2008 Oil on canvas 200 x 160 cm Signed on the right Lin Tianlu in Chinese and dated 2008 EXHIBITED: Aesthetic Encounter , Art Seasons Gallery, Beijing, June 28 – July 20, 2008

HK$ 50,000 - HK$ 80,000 NT$ 210,000 - NT$ 336,000 US$ 6,400 - US$ 10,300

林天祿 悟空出世 2008 油彩 畫布 200 x 160 cm 簽名右側：林天祿 2008 展覽： 「美麗體驗」群展，季節畫廊，北京， 展期自2008年6月28日至7月20日

Ravenel 111

060

GU WENDA

(Chinese, b. 1955)

Gu's Phrase Series: Wind and Sand 2003 Ink on paper 96 x 89 cm Signed lower left Wenda in Chinese, titled Gu's Phrase Series: Wind and Sand in Chinese, dated year of 2003 in New York in Chinese With two seals of the artist PROVENANCE: Private collection, USA

HK$ 120,000 - HK$ 180,000 NT$ 504,000 - NT$ 756,000 US$ 15,500 - US$ 23,200

谷文達 谷氏簡詞：風沙 2003 水墨 紙本 96 x 89 cm 題識左下：風沙以谷氏簡詞 "𠘨"部入畫 文達二〇〇三年於紐約 鈐印下方：谷文達印 （偽文字） 來源： 私人收藏，美國

061

GU WENDA

(Chinese, b. 1955)

Gu's Phrase Series: Wind and Bamboo 2003 Ink on paper 96 x 89 cm Signed upper left Wenda in Chinese, titled Gu's Phrase Series: Wind and Bamboo in Chinese, dated year of 2003 in New York in Chinese With two seals of the artist PROVENANCE: Private collection, USA

HK$ 120,000 - HK$ 180,000 NT$ 504,000 - NT$ 756,000 US$ 15,500 - US$ 23,200

谷文達 谷氏簡詞：風竹 2003 水墨 紙本 96 x 89 cm 題識左上：風竹以谷氏簡詞 "𠘨"部入畫 二〇〇三年 文達於紐約 鈐印左上：谷文達印 鈐印右下：（偽文字） 來源： 私人收藏，美國

Ravenel 113

062

WANG JINSONG

(Chinese, b. 1963)

Ink Figure No. 67 2005 Ink on paper 146 x 91 cm Signed center right painted by Wang Jinsong in Chinese, titled lower right Figure No. 67 in Chinese and dated December of 2005 With one seal of the artist

HK$ 60,000 - HK$ 90,000 NT$ 252,000 - NT$ 378,000 US$ 7,700 - US$ 11,600

王勁松 水墨人物 No. 67 2005 水墨 紙本 146 x 91 cm 簽名右中：王勁松畫 2005. 12 題識右下：人物67# 鈐印右中：王勁松印

063

GU WENDA

(Chinese, b. 1955)

Mythos of Lost Dynasties Series J No. 15 2006 Ink on paper 96 x 59.5 cm

谷文達

Titled upper right Mythos of Lost Dynasties Series J No. 15 in Chinese Signed lower left Wenda at Shanghai Mo Gan Shan Road , dated Spring of 2006 in Chinese

2006 水墨 紙本 96 x 59.5 cm

With two seals of the artist

HK$ 120,000 - HK$ 180,000 NT$ 504,000 - NT$ 756,000 US$ 15,500 - US$ 23,200

遺失的王朝J系列之十五

題識右上：遺失的王朝J系列之十五 簽名左下： 二○○六年春 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）

Ravenel 115

064

TU HONGTAO

(Chinese, b. 1976)

Reaching 2003 Oil on canvas 145 x 115 cm Signed on the reverse Tu Hong Tao in English, titled Reaching in English, inscribed 145 x 115 cm and dated 2003

HK$ 100,000 - HK$ 150,000 NT$ 420,000 - NT$ 630,000 US$ 12,900 - US$ 19,300

屠宏濤 到達 2003 油彩 畫布 145 x 115 cm 簽名題識畫背：Tu Hong Tao Reaching, 2003 145 x 115 cm

065

LI SHAN

(Chinese, b. 1942)

Rouge Series: Double Mao 2005 Acrylic on canvas 44 x 54 cm Signed on the reverse lishan in Chinese and English, dated 2005

HK$ 90,000 - HK$ 150,000 NT$ 378,000 - NT$ 630,000 US$ 11,600 - US$ 19,300

李山 胭脂系列 － 雙重毛澤東 2005 壓克力 畫布 44 x 54 cm 簽名畫背：李山 lishan 2005年

Ravenel 117

066

QIU ZHIJIE

(Chinese, b. 1969)

Dictionary Series: Radical Stone and Clothes (A set of two scrolls) Ink on paper mounted on scroll 184.5 x 27 cm (each) With eight seals of the artist (Radical Stone) With four seals of the artist (Radical Clothes)

HK$ 150,000 - HK$ 240,000 NT$ 630,000 - NT$ 1,008,000 US$ 19,300 - US$ 30,900

邱志傑 說文解字系列 – 石字部及衣字部 (兩幅一組) 水墨 紙本 立軸 184.5 x 27 cm（每幅） 鈐印左方（由上往下）：形而上 吾喪我 邱志傑印 邱（石字部） 鈐印下方：金石韭壽（石字部） 鈐印右方（由上往下）：不立文字 長樂 月明（石字部） 鈐印上方：吾喪我 不立文字（衣字部） 鈐印下方：邱志傑印 月明（衣字部）

DICTIONARY SERIES: RADICAL STONE AND CLOTHES QIU ZHIJIE

The surging art trends and movements since the 1980s began to

emerged from the paper. Chinese calligraphy unexpectedly turned

crumble the absolute spirit of art. The utopian ideals in the world of

its field from literature to philosophy. When eliminating unnecessary

art began to collapse. People continuously attacked the purposes,

emotional disturbance and returning to the most physical status of

the moral meanings, the political intentions and the values of art.

'writing,' I naturally entered the most metaphysical realm. Special

The ways and theories of artistic creation also became more and

content demands special materials and techniques. I used Japanese

more liberal. In the mid and late 1980s, to maintain the speed of

shoji paper, which can endure repeated scratches and washes, to

progress, radical artists began to head to the direction of "anti-

repetitively copy the characters and wash the paper and eventually

art." In this background, perfor mance art and conceptual art

form a kind of special layered effect. Viewers may abandon linear

began to enter the minds of Chinese artists. As one of the earliest

views and watch the scroll randomly, freely appreciating the work

contemporary Chinese artists who practiced conceptual art, Qiu

without beginning or end. "

Zhijie aroused discussions in the art circle with one of his early works, A One-thousand-time Copy of Lantingxu. He copied Lantingxu a

1980年代風起雲湧的藝術思潮和運動，使得藝術領域的絕對精神開始

thousand times until the paper was filled with black text. It was

崩潰，藝術世界的烏托邦開始瓦解。藝術的目的，道德含義，政治意

obvious that the artist intended to dissolve the cultural symbols

圖，價值標準等問題不斷被衝擊。關於藝術創作的方式、方法的討論

in the course of copying. In his later creations, he still continued

也日趨開放。進入1980年代中後期，激進的藝術家為了保持前進的動

to contemplate on the relations between traditional culture and

力，開始把藝術的探索推向反藝術的方向。這一背景之下，行為藝術和

characters. The following is his explanation of his motive in creating

觀念藝術開始進入中國藝術家的視野和思維。作為中國當代藝術家中最

the "Dictionary" series:

早實踐觀念藝術的先鋒之一，邱志傑的早期作品《重複書寫一千遍＜蘭 亭序＞》便在藝術界引起反響。他在一張紙上書寫一千遍《蘭亭序》，

"The 'Dictionary' series is made up by several scrolls with each scroll

直到這張紙被填滿黑色。藝術家的「意圖」明顯：要讓歷史文化符號在

filled with the words of the same radicals. For instance, one scroll

反覆書寫的過程中消失。在其後的創作中，對於傳統文化和文字的思考

is written with 志 (will), 意 (meaning), 悲 (sadness), 愁 (sorrow), 願

也始終繼續。對於《說文解字》系列，他是這樣闡釋自己的創作動機

(wish), 怨 (resentment), 惡 (evil), 思 (thought), 想 (idea), 怒 (anger)

的：

and other characters formed by the radical of 心 (heart). This scroll is covered with a variety of moods and mental states. Another scroll

《說文解字》系列由若干紙本條幅組成，每個條幅集中同一偏旁部首的

is written with 議 (comment), 說 (say), 詞 (word), 語 (language), 訴

字，比如一個條幅上寫滿「志」「意」「悲、愁、願、怨、惡、思、

(tell) and other characters formed by the radical of 言 (speech),

想、怒……」等帶有「心」的字。則紙則是各種心情，各種心理狀態，

showing various ways of saying and speeches. The rest follows the

百感交集。另一條幅上寫滿「議」「說」「詞」「語」「訴」……等等

Five Elements (wood, fire, earth, metal and water) and the other

帶有「言」旁的字，滿志就是各種說法，眾語喧嘩；其餘如金木水火

radicals referring to people, animals and nature. Instead of quoting

土，人鬼日月，風雨犬馬，皆各成譜系。不寫詩詞歌賦警句的套話，而

poems and verses, I found a strange sense of pleasure in copying

是照著字典去抄去，卻各有奇怪的快感，無它，轉換了書寫的內容而

the dictionary and changing the content of my writing. Although

已。快感有一：一紙之內諸字的關係，雖不成語句，因其歸屬於相同

the characters do not constitute Chinese idioms, the close relations

的類別，卻自然煥發出一種意義。發現「仙」和「佛」原來都是人字旁

of those characters, derived from the same radicals and families,

的，和「伎倆」與「僂傴」同科，真有恍惚的開悟。伊人既可夥伴，亦

naturally form special meanings. I found that 仙 (fairy) and 佛

可成仇，象形字竟是啟示錄。

(buddha) both share the same character, 人 (men). 伎倆 (maneuver) and 僂傴 (hunchback) come from the same family, which left me a

快感之二：諸部並置至一定數量之後，則漢家的形象和概念系統躍然紙

moment of realization that one can be the company as well as the

上，吾人視界之輪廓為之厘清。書法竟由文學而哲學，剝除掉多餘的情

enemy when pictograms become "the book of revelation."

緒紛擾，踏到最形而下的「寫字」的實地時，卻自然走到了形而上的界 域中。特殊的內容要求特殊的章法和技法。我用日本的障子紙，耐多

When a certain amount of characters of the same radicals are

次磨洗，反覆地寫和洗，形成層層疊疊的效果。觀看時目光可以離開線

juxtaposed, the image and conceptual system of Han culture

性，隨意遊走，固而無始無終自在。

Ravenel 119

067

WANG GUANGYI

(Chinese, b. 1957)

Coca Cola 2005 Oil on canvas 60 x 70 cm Signed on the reverse Wang Guangyi in Chinese and English, dated year of 2005

HK$ 220,000 - HK$ 340,000 NT$ 924,000 - NT$ 1,429,000 US$ 28,400 - US$ 43,800

王廣義 可口可樂 2005 油彩 畫布 60 x 70 cm 簽名畫背：2005年 Wang Guangyi 王廣義

In his "Great Criticism Series", Wang combines iconic images

daring. What separates Wang's art from that of the Western pop-

from the Socialist Art posters of the Cultural Revolution with iconic

artists is the unique and complex imagery he uses, which has a very

images of Western Consumerism. Strong, stoic and idealistic

Chinese foundation. The form looks similar, but the meaning is very

figures of Maoism, soldiers, laborers and farmers are juxtaposed

different.

with equally strong and powerful logos of Western consumerism often with the word 'NO' clearly imposed on the canvas. On first

「大批判系列」畫作中，王廣義結合文革時期社會主義藝術海報圖像，

view, it seems incongruous to place images of revolutionary zeal

和西方消費主義的圖像象徵。毛澤東主義中強壯、禁慾與理想主義的角

with images of almighty consumerism. But what Wang has created

色，包括軍人、工人和農民，與西方消費主義的熟悉圖像並列，更在西

are images that are emblematic of China's contemporary struggle,

方主義的圖像上清楚畫上「NO」。將滿腔熱血的革命圖像與鉅量的消費

grappling with its past while figuring out its future. Wang seems to

主義符號放在一起，似乎充滿矛盾，但是王廣義卻利用這些符號，傳達

be suggesting that both sets of symbols are dangerous. But this is a

出中國現在的掙扎，既要應付過往的問題，又希望勇往直前。畫作似乎

superficial reading. For many Chinese, Wang included, the Cultural

也表達出這兩組符號其實都是危險的，但這只是粗淺的解讀。有別於多

Revolution is not a black and white issue as it would be for most

數西方人，對許多中國人而言，包括王廣義，文化革命並不是非黑即白

Westerners. Many Chinese look back at that time with a certain

的史實，回首文革，許多中國人對這段時期有種懷舊情感，儘管其中包

nostalgia notwithstanding the horrors that took place, it was an easy

含著恐懼，但也是一段既無工作也無學校的簡單日子。這是一種道地的

time for many, no work and no school. In a very Chinese way, most

中國情愫，許多事情雖互相矛盾，卻又是能夠容忍的矛盾情況。正如王

things are imbued with contradictions, contradictions we can live

廣義所說，他每天喝可口可樂，但是可口可樂也是他最常使用的符號之

with. Wang has also said he drinks Coca-cola everyday, but it's one

一。到底他是真心批評，或只是想激發我們發出疑問呢？他的作品實在

of his most common images. Is he really criticizing or is he provoking

充滿象徵意味。

us to ask questions? His works are truly emblematic. 表面上來說，王廣義的風格可視為普普藝術，有普普藝術大師安迪．沃

On the surface, Wang's style may seem to be an appropriation of the

荷和李奇登斯坦的風格，將每天生活中的符號坦然以普普藝術風格傳達

pop art of Warhol and Lichtenstein, incorporating everyday images

出來。但是他的作品，自1990年代開始在中國所產生的革命影響，與普

in a flat pop art style. But his work at the beginning of the 1990s

普畫家在1960年代美國所產生的無異。傳統中國藝術非常保守且深具傳

was just as revolutionary in China as theirs was in 1960s America.

統色彩，偉大的藝術通常來自於模仿前人，因此，採用西方藝術家的畫

Traditional Chinese art was very conservative and tradition bound.

風本身就是一種反動與前衛大膽之舉。王廣義的畫作有別於西方普普藝

Great art was produced by copying the great masters. The very

術家，他採用極具中國意味的複雜符號，既令人熟悉，卻又代表全然不

act of using a foreign style of painting was in itself reactionary and

同的意義。

Ravenel 121

068

TANG ZHIGANG

(Chinese, b. 1959)

Children in Meeting Series 1999 Oil on canvas 82 x 100 cm

唐志剛 兒童會議 1999 油彩 畫布 82 x 100 cm

Signed lower right Tang in English and dated 99

HK$ 260,000 - HK$ 400,000 NT$ 1,092,000 - NT$ 1,681,000 US$ 33,500 - US$ 51,500

簽名右下：Tang 99

Tang Zhigang an art master who has contributed his vivid

psychological burdens spreading through the whole world.

and unique images to contemporary Chinese art. His art, as

Eventually, he tried to dissolve such heaviness through his

unbending as his temperament, carries a powerful vitality. He

customary bright and lighthearted images of children, and that

blends solemnity and humor together in a way akin to straddling

was no doubt a brilliant and wise design. "Children in Meeting

the boundary between water and ice. His art feels warm but not

Series" presents us with a fairy tale world, but in fact it is not an

steaming, cold but not freezing. You can’t help but smile when

innocent children’s book. Instead, it conveys implications of the

you observe the scenes in his art; however, such a smile would be

pressure, anxieties and the sense of crisis prevailing in the adult

gradually dissolved by the topics presented. The presentation of

world.

the "Children in Meeting Series" is straightforward without losing its sense of humor, satirizing how the uncontrollable political

唐志剛為中國當代美術史貢獻了他獨特鮮明的圖像的藝術，他的藝術

power of today is indeed as absurd as children’s games.

和他的人一樣，帶有一股頑強而倔強的生命力。他將嚴肅和幽默把握 到結冰與解凍的界。是熱而不化，是冷而不凝；他的畫面會讓你忍不

Tang directly expresses his thoughts in the "Children in Meeting

住笑；他的主題又會將你的笑容釋在內心。小孩開會的畫面更是直接

Series". The children are arranged behind the table of the

卻又不失幽默，如今權力失控猶如此兒戲一般荒謬的。

leaders, where exaggerated expressions and childlike excitement are juxtaposed. The artist injects fear and pressure, two adult

唐志剛在「兒童開會」系列作品中直接表現了思想，幼兒形象以荒謬

emotions, into his portrayal of those children. He explains that

的手法被置於主席桌後，表情誇張又不失孩童的興奮，把一種成人需

over the course of history men have always tried to exceed their

要面對的恐懼感和心理壓力被反射地擱置在兒童身上。唐志剛解釋

limits. While men are setting records one after another, they also

說，在人類的歷史中，人們總是不斷地試圖超越自己、超越極限，而

subject themselves to new pressure. Therefore, to some point, the

恰當人們在創造一個又一個記錄的同時，也給自己不斷帶來了新的壓

arena is filled with the fear generated from confronting extremes.

力；因而，從某種角度來看，競技場充斥著人們面對極限時的恐懼心

Tang criticizes such a reality with irony and comparison, presenting

理，唐志剛以嘲諷的口氣和比喻的方式對現實提出批評，反映每天處

the stress of those living in a competitive environment.

於競爭環境中的人所面臨的壓力。

I n t h i s p a i n t i n g , Ta n g a d o p t e d a m o r e s i m p l i s t i c a n d

在作品《兒童會議》中唐志剛採用的繪畫技巧越來越凝練簡潔，這很

straightforward painting technique, which meets the essence of

符合中國傳統寫意畫刪繁就簡以神寫形的精神。而在色彩上，他變得

Chinese freehand (Xieyi) painting, a style that removes complexity

越來越鮮亮，帶有中國傳統的大紅為基調，又富有更加強烈的當代感

for simplicity and portrays forms with spirit. He applied brighter

和國際性。唐志剛越來越明晰地顯示出他獨特的著眼點和悲天憫人的

hues, with Chinese scarlet red as the basic tone, which is certainly

開闊情懷。他關注周遭的事件，他體會到當代人們普遍的心態與這個

a highly contemporary and international use of color. The artist

時代蔓延著的焦慮和心理負擔，最終通過他慣有的活潑、輕快的兒童

showed his unique point of view and empathetic mind through

形象將這種沈痛感消解掉。這是唐志剛的高明與智慧。《兒童會議》

this series. Being sensitive about his surroundings, he noticed

演繹給我們一個童話般的世界，其實並非一部天真的兒童讀物，而是

the common mindset of modern people and the anxiety and

成人世界裡普遍存在的種種心理壓力、焦慮和危機感的暗示性寫照。

Ravenel 123

069

SHI XINNING

(Chinese. b. 1969)

Mona Lisa 2005 Oil on canvas 140 x 104.5 cm Signed on the reverse Shi Xinning in Chinese, inscribed Beijing in Chinese and dated 2005

HK$ 320,000 - HK$ 480,000 NT$ 1,345,000 - NT$ 2,017,000 US$ 41,200 - US$ 61,900

石心寧 蒙娜麗莎 2005 油彩 畫布 140 x 104.5 cm 簽名畫背：石心寧 2005.北京

Andy WARHOL, Mao Zedong (Feldmann and Schellman II 95) , 1972, Silkscreen in colors 132/250, 91.4 (L) x 91.4 (W) cm 安迪．沃荷《毛澤東（費德爾曼與雪爾曼II 95）》1972年 彩色絹版畫 132/250 91.4（長）x 91.4（寬）cm

Ravenel 125

MONA LISA SHI XINNING Throughout the development of Chinese and Western art history,

he enjoys discovering the contradictions in seeming harmony and

masters have been known to recreate, reanalyze and subvert

trying to control them, because he finds the absurd to be sometimes

masterpieces to such an extent that their works become indivisible

more powerful, even more har monious than the original. He

parts of the comprehensive cultural heritage. Examples include

believes that his era is one of a unique sensitivity and capability,

Marcel Duchamp’s mustached Mona Lisa and Edouard Manet’s

which is to say that he hopes contemporary China to be an era of

incorporation of characters from Greek mythology into his work.

his generation, one his contemporaries may participate in creating.

In contemporary Chinese art, classics from art history and iconic

Thus, the paintings of Shi Xinning serve as an existential testament

images from films, newsreels, photography and advertisements are

for this age.

employed in ways that gradually elevate these images of profound influence, whether as representations of cultural value, symbols of

Shi Xinning's paintings are endowed with a level of absurdity and

the era, or simply serendipitous outcomes of history, into people’s

contemporaneity that inspire nostalgic sentiments of youth and

collective memory and into "classics" with timeless universal value.

sensibility in the 1970s generation, whose self-image and affective

The paintings of Shi Xinning may be divided into two categories

characteristics have only begun to take shape. Important concepts

in terms of subject matter. In the first category

on "Mao Zedong" are, in terms of time, much

a re rep rod uc tions o f Wester n cl assi cal o i l

more distanced from younger artists like Shi

paintings that include replacements of the

Xinning, to whom memories may have faded

original graphic composition with elements that

but cognition is still very much alive. The image

engender contemporary meaning, achieving

of Mao Zedong as a social-historical legacy and

a sense of incoherence in the image that yet

its numerous forms of portrayal is an intriguing

affords the viewer a balanced visual effect in the

social phenomenon. From the perspective

midst of incongruity. The artistic language of

of visual art, he has used the language and

painting adequately and accurately expresses

symbols of paintings to recreate the classics,

this quality unique to contemporary China –

restored and renovated traditional models and

an image of superficial harmony that conceals

styles, eliminated the possibility of the classic

unspeakable, indescribable conflicts and

linear development, questioned the single

struggles. The second category is the usage

narrative approach, and achieved a formula for

of old pictures from documentary media out

absurdity utilizing the contemporaneity of the

of which an individual figure is plucked and

original subject. The simple black and white

replaced by the portrait of Chair man Mao,

images are like a series of historical photos,

thereby creating historical implication beneath

yet through his deliberate rearrangements

a surface of comical humor that speaks volumes

and misplaced figures, people from different

to those who are enlightened.

Shi Xinning was born in Yingkou, Liaoning in

historical backgrounds are placed within the Mona Lisa by Leonardo da Vinci 《蒙娜麗莎》李奧納多．達文西畫

1969 and graduated from Lu Xun Academy of

same image, thus generating a certain level of realism but at the same time achieving excessive contradiction and absurdity. While the visual

Fine Arts in 1990. Shi Xinning duplicates past history and creates

effects are powerful and shocking, they also possess amusing

new history time and time again by conducting the replacements,

insights.

absorption and reinterpretation of "classic images," a creative concept that has persisted throughout his career. His works clearly

In this piece, the methods employed include the dissolution,

retain partial traits of the original but are completely transfigured

displacement and transformation of classic images that invoke satire

into images of his subjective creation. What he achieves is not a

and absurdity, subverting the sanctity of the original classics. It is

reproduction or copy in the ordinary sense, but a reexamination

Shi’s analysis and description of the image of a glorious era through

of historical aspects by recreating on his canvas of image data

the lens of his personal experience. His work stands out from among

from classic historical scenes, which is much more than mere

the multitudes of "Mao Zedong" inspired creations as a result of

"transplantation, tampering or replacement." In the grand scheme

his will and disposition. Mao Zedong is an element and symbol that

of history, "classics" are thus accrued and become historical texts

artists are enthralled by and draw frequent inspiration from. The

that occupy a place of distinction in the great traditions throughout

different backgrounds Shi employs to portray his images of Mao

the generations. Most of Shi Xinning's works are inspired by and

Zedong are highly allegorical, such as this simple composition of

created from significant moments in Chinese and Western history.

"Mona Lisa," a renowned portrait masterpiece. It represents the

This contrast between image and consciousness is precisely the

epitome of da Vinci’s artistic achievements by for its successful

deliberate work of modern Chinese artists. According to Shi Xinning,

portrayal of a middle-class, urban woman in an era that saw the

rise of capitalism. By substituting the classic household portrait of

新的歷史，這一創作理念一直就沒有間斷過。這些作品清晰地顯示了原

Chairman Mao onto the Western classic of "Mona Lisa," the artist is

版局部的特徵，但又把這些圖像完全納入到個人主觀的塑造之中，他當

embedding the modern Chinese cultural symbol "Chairman Mao"

然不只是進行普通意義上的臨摹或複製，在其多年的構思中，就針對經

into the traditions of Western culture. The image is an omnipresent

典歷史場景影像資料的創作並非只是單純地「移植挪用或置換篡改」而

Chinese symbol in all corners of the country while long periods of

是給予二度審視歷史層面的展開。在歷史大浪淘沙中，「經典」如此被

isolationism has kept China at a distance far removed from the Euro-

積澱下來，成為了在偉大傳統中被賦予特殊地位的歷史文本，銘刻於人

centric world. This piece is therefore an apt demonstration of how

心。在石心寧的作品中，大多數是以中西方歷史經典瞬間為創作母本。

modern Chinese artist Shi Xinning is humorously exploiting this very

這種表象與意識的對沖其實正是當代中國藝術家所刻意營造的。石心寧

image to reconstruct important moments in history for his fellow

說，「我喜歡發現和諧中的矛盾，然後試著去控制它，因為我發現荒謬

Chinese.

有時更有力量，甚至比原來的更加和諧。我們的時代更具靈敏度和能 力，或者說我希望當代中國是我們的時代，是我的同代人參與創造的一

Shi Xinning's paintings have long surpassed the traditional cultural-

個時代，那麼石心寧的繪畫就像這一個時代的存在證明。」

social critical standards of "faking the truth till the truth becomes fake, holding on to nothing till everything becomes nothing," and

石心寧的繪畫具有相當的荒謬感與當代性，開啟了1970年代的一代人青

have earned him the right to take part in contemporary public

春感傷的抒情主題，並真正開始塑造這一代人自己的自我形象和情感特

dialogue. His experiments are the defamiliarization of familiar

徵。以時間的距離，關於「毛澤東」的重大概念，對於石心寧這些更為

images that allow him to control the viewers' expectations, enabling

年輕的藝術家來說，模糊的或許是記憶，生動的依然是認知。毛澤東的

these viewers to experience the surprise produced by new images

形象作為一種社會歷史遺產，各種方式的使用是非常耐人尋味的社會現

and new perspectives as well as the sense of freedom after their

象。從視覺藝術的角度來考察，他用這樣的繪畫語言和符號改寫經典，

disposal of long-standing arbitrary rules. Many people would,

修復和更新傳統的樣式和風格，取消了經典直線發展的可能，向單一敘

therefore, gaze upon Shi Xinning's paintings and experience a sort

述提出質疑，從而使原本題材既有主題上的時代性，又用一種荒誕的形

of historical image déjà-vu, some of which are even renowned works

式意味。純黑白的畫面像是一張張歷史照片，但經過他刻意置換與錯位

of photography. The viewer is aware upon first inspection of Shi

人物的思考下，不同時空背景的人物被放置到同一個畫面中，使得有一

Xinning's work that the text he is about to peruse is no longer one of

定程度真實性的畫面在和諧氛圍下卻也達到了極度的矛盾和荒謬，充滿

visual imaging art history in the historical sense but a history that has

力量與震撼的視覺感受，也具備了思辨的趣味。

been cosmetically altered. These are visual texts have been carved and imprinted with his personal creative marks, while this type of

在此幅作品中，其繪畫手法以消解、錯位、變形經典圖像，造成反諷與

work conveys an understanding and sensibility toward the traditional

荒謬感，從而顛覆掉了經典原先的神聖性。以自己的經驗解讀並敘述著

classics. Images are reconstituted out of traditional and historical

一個輝煌的時代的形象。他以自己獨有的氣勢，在眾多以「毛澤東」為

aesthetics and given new form to commemorate the thoughts and

題材的作品中獨樹一幟。毛澤東，是畫家愛不釋手、樂此不疲的元素和

sentiments of the past while generating strong visual impact. The

符號。他以不同背景創作的毛澤東常常像一個寓言，即使如同這幅如此

genre remains a celebration of the past, exemplifies the sense of loss

簡單構圖的《蒙娜麗莎》，而《蒙娜麗莎》是一幅享有盛譽的肖像畫傑

in affective memories of "past worlds" so often found in Chinese

作。它代表達文西的最高藝術成就，成功地塑造了資本主義上升時期一

poetry, and serves as a tribute to and nostalgia for history.

位城市有產階級的婦女形象。以中國家喻戶曉的經典毛主席肖像一作， 並將其置換到西方經典作品《蒙娜麗莎》中。把象徵近代中國文化的符

在中西美術史的進程中，大師們對藝術經典作品進行二度創作、再解析

號「毛主席」嵌入西方傳統文化中，讓在中國大街小巷裡隨處可見的中

至顛覆原作等情況已是屢見不鮮，成為整個文化傳承史中不可忽略的一

國元素，又長期處於孤立主義的中國遠遠地被遺忘在以歐洲為中心的世

部分。如杜尚給蒙娜麗莎加鬍子、又如馬奈將希臘神話人物整合出現在

界裡，而一個中國的當代畫家石心寧以詼諧的手法來消費，重新為中國

作品中諸如此類。在中國當代藝術中，利用美術史經典，以及電影、新

人呈現歷史的重要時刻。

聞、攝影、廣告等的經典畫面，使這些有深遠影響力的圖像，或因體現 文化價值，或因深具時代意義，或因歷史偶然的選擇，逐漸進入人們的

石心寧的畫，已經超越了「假做真時真亦假，無為有處有還無」式的傳

共同記憶中，從而成為「經典」產生了恒久的普遍價值。在石心寧的創

統文化—社會批判層次，而獲得了進入當代公共話語的資格。他的實驗

作中繪畫作品題材大約可分成兩種類型：一是西方古典油畫的再製作，

使這些熟悉的圖像陌生化，以控制觀者的期待，讓觀者體味新圖像和新

以原作構圖為藍本巧妙的置換使其具現今時代性的物件，致使畫面呈現

視角所產生的驚喜，以及擺脫經典規則後的自由。所以，很多人看了石

似乎不合理但又讓觀者的視覺，在不協調中取得平衡的感覺效果。繪畫

心寧的畫，都會似曾相識地想起某一幅歷史圖片，有的還是著名的攝影

這一藝術語言，可以充分而準確地表達出當代中國的這個特性，而其表

作品。從而使觀者在開始審視石心寧作品時就意識到，他將要閱讀的文

像上和諧畫面之下又充斥著難以名狀的矛盾力量。二是利用紀實媒體的

本已不是歷史意義上的視覺圖像的美術史，而是經過他整容後的歷史。

舊圖片，抽離其中一個人以結合毛形象入畫，在表面的詼諧、幽默中隱

視覺文本已經深深地刻下了他個人創作的烙印與痕跡。這一類作品，體

喻著歷史的弦外之音；常能讓人會心一笑而心有所悟。

現了對傳統經典的理解與情感。畫面將傳統與歷史的美學元素以新的形 式再現，讓人在視覺受到衝擊的同時產生出對過往的思緒與情懷。這類

石心寧1969年生於遼寧營口，1990年畢業於魯迅美術學院。石心寧對

作品依然是一種追念，符合中國詩學對「過去的世界」惘然有失的情感

「經典圖像」進行置換、內化、再詮釋，一次次複製歷史而又在創造出

記憶，對歷史的致意與懷想。 Ravenel 127

070

GU WENDA

(Chinese, b. 1955)

Mythos of Lost Dynasties G Series #10 1998 Ink on paper 288 x 178 cm Signed lower right Wenda in Chinese, titled Mythos of Lost Dynasties Series G No. 10 in Chinese, dated year of 1998 With one seal of the artist PROVENANCE: Private collection, USA EXHIBITED: Wenda Gu: Art From Middle Kingdom to Biological Millennium , University of North Texas Art Gallery, Denton, Texas, January 16 - February 25, 2003; H&R Block Artspace, Kansas City Art Institute, Missouri, June 7 – September 6, 2003

Gu Wenda is one of the most influential Chinese artists today. Like his contemporaries, Gu experienced the catastrophic Cultural Revolution, caught up with the

HK$ 360,000 - HK$ 550,000 NT$ 1,513,000 - NT$ 2,311,000 US$ 46,400 - US$ 70,900

R e f o r m a n d O p e n i n g p o l i c y a n d e n c o u n t e re d t h e floods of modernist art and philosophical thoughts.

He witnessed and experienced the 85 Art Movement, and was regarded as a "destructive" artist. Before the critics in China showed their concerns over Chinese

谷文達 遺失的王朝G系列十號

painting, Gu had already explored the new direction of this century-old art form. The creation of "Mythos of Lost Dynasties" series began as early as the 1980s and

1998 水墨 紙本 288 x 178 cm

portrays the artist's innovative exploration in art.

題識右下：遺失的王朝系列G十 一九九八年文達 鈐印右下：（偽文字）

restored the College Entrance Examination and the order

來源： 私人收藏，美國 展覽： 「從中國文化到生物千禧年」，北德州大學藝術畫廊，丹 頓，德州，展期自2003年1月16日至2月25日；H&R 藝術 空間，堪薩斯城藝術學院，堪薩斯城，密蘇里州，展期自 2003年6月7日至9月6日

Gu was born in Shanghai in 1955. In 1979, China of universities after the Cultural Revolution. Gu was admitted to the Zhejiang School of Arts as one of the first graduate students on Chinese painting and became a disciple of landscape master Lu Yanshao. Gu was greatly influenced by Lu’s profound knowledge regarding classical literature and masterly calligraphic skills. Many of his calligraphic and cultural symbols in his later creations were drawn from the influence of his teacher.

However, he was not just inspired by Chinese classical culture. At graduate school, he read many books on Western philosophy, aesthetics and religion, especially those by Nietzsche, Schopenhauer and Freud, which had profound influences on his artistic thinking. Showing the inspirations derived from books using symbolism and imitating Western modern art were common practices in the art circle during that period. However, Gu surpassed his contemporaries in terms of his artistic notions. He tried to break away from his past practices of referring to Western modern art to attack Chinese painting, and began to re-examine Chinese classical traditions. It was not easy for him to preserve independent thinking in the dominant mainstream of Western art.

Ravenel 129

In the early 1980s, the beauty of Chinese characters opened up a new world for Gu. Chinese characters – or to be more precise, Han characters – have played an important role in Chinese history and culture. In Han history, controlling the power of writing has always been the proud prerogative among the literate elites as well as a crucial role for the Han to assimilate the minority groups. Han characters have become incomparable writing symbols due to their deconstructive features and distinctive formation, possessessing both sounds and shapes. Over the long history of the development of Han characters, scholars have striven to study and research the changes of fonts. As a result, during the "anti-tradition" art trend in the mid-1980s, it was expected to see works that criticized and even opposed Han characters. Because of his experiences in writing posters during the Cultural Revolution, studying Chinese calligraphy at graduate school and reading Western philosophies, Gu was able to discover a space outside the existing meanings of Chinese characters. Among those discoveries, the recreations of seal script have been the center of his artistic creation over the years.

Seal script is an official script from ancient China that preserves many pictograms. Because people found it difficult to write and recognize seal script, it was gradually replaced by other writing styles. To Gu, the inexplicableness of seal script allowed more room for imagination. He "re-created" seal script, forcing the meaning of the characters to be dissolved while the pictographic function of those characters make them look familiar, and there began to form a delicate and tricky connection between the works and the viewers. In his works "Mythos of Lost Dynasties," the pseudo seal script created by Gu was always the center of his paintings, abruptly protruding from the void ink wash background with powerful visual impacts. The re-constructed, meaningless characters question the authority of the traditional characters. From a different angle, the Chinese also asked the question about the inheritance of traditional culture in the new art trend. Critic Huang Zhuan once commented on Gu’s artistic achievements, saying, "His status in the history of contemporary

Chinese art was grounded on his two tasks: the comprehensive criticisms and continuous artistic experiments on his native culture and Western culture. The critical reconstruction of Chinese native culture was the point of departure and the core content of his tasks. " From 1983 to 1986, in the works of "Mythos of Lost Dynasties" created in Zhejiang School of Art, deconstructed and reconstructed seal script characters were often shown in the form of Chinese calligraphy. Since the mid-1990s, Gu began to combine his pseudo characters with traditional ink wash landscape. Gu’s inexplicable "simplified characters," in combination of the curves, shading and splash ink, formed into a unique artistic presentation, reflecting the complicated tradition and history with a delicate formation of Chinese characters.

The deconstructed characters overturned traditional ideas and destroyed conventional systems. Such an artistic enquiry on characters and pictograms bore a striking proximity to the works by the U.S. Pop artist Edward Ruscha, only that Ruscha paid his

attention on the relationship between American pop culture and

中，對漢字的反思甚至批判的作品也在意料之中。文革期間參與寫大字

written words. In the tradition of Western art, words have long been

報的經歷，和研究生階段研習書法，以及西方語言哲學的閱讀經歷，使

viewed as invasions to the images, and Ruscha on the other hand,

得谷文達得以發現文字自身意義之外的空間。其中對篆書的再創作貫穿

constructed images with words in his artworks. On the contrary,

了他多年的創作。

elegant poems have been regarded as perfect supplementary notes to traditional Chinese literati paintings. Poems and paintings were

篆書作為中國古代的一種官方文字，由象形文字發展而來，因而保留了

inseparable. The inscription and the poems on the painting were

很多圖像元素。因其書寫，識別困難，後世逐步被其他書體所取代。

used to help viewers understand the artistic conception or express

對於谷文達來說，篆書難以識別反而釋放了更多想像空間。他將篆書重

the painter’s feelings. In "Mythos of Lost Dynasties G Series #10", the characters used as notes to the painting become the subject. The mountains and rocks outlined by light ink and the bushes formed by the dots of thick ink recede to the subordinate position. The seemingly familiar images are challenging people’s understanding of traditional Chinese painting. Moving to the U.S. in 1987, Gu became more liberal in terms of his cultural reception and artistic expression. He also expanded the depth and width of the cultural connotation in his "Mythos of Lost Dynasties" series. From the artistic exploration that extended to the writing experiment in early 1980s, he once again combined

GU Wenda, Mythos of Lost Dynasties Series #1 - #50 (pseudo-seal scripture in calligraphic copybook format) splash ink calligraphic painting Gu Wenda studio, Zhejiang Academy of Arts, Hangzhou, China 1983-1986

Edward RUSCHA, Pay Nothing until April 2003, acrylic paint on canvas 152 x 152 cm 愛德華．魯沙《四月前無須付款》2003 壓克力 畫布 152 x 152 cm

谷文達《遺失的王朝系列 #1-#50》潑墨書法繪畫谷文達工作室， 中國杭州浙江美術學院 1983-1986

writing with traditional images and expanded his artistic boundary.

新「創造」，使得文字本身的意義被消解，而字形本身蘊含的象形功能

His practices prove that Chinese cultural symbols still share a kind of

又使得這些偽文字看起來似曾相識。作品與觀者之間的微妙聯繫由此展

universality that resonates in the world.

開。在《遺失的王朝》持續多年的創作中，谷文達生造的偽篆字始終是 畫面的主體，在虛無的水墨背景中突兀湧出，有極強的視覺衝擊力。重

谷文達是當下最具影響力的中國藝術家之一。與他同時期的中國藝術家

構的無意義的文字質疑文字的傳統的權威；另一個角度來說，對於新思

一樣，谷文達經歷了文革浩劫，趕上了改革開放，以及潮水般湧入的現

潮下，國人如何面對本土傳統文化的繼承也提出了同樣的質疑。批評家

代主義藝術和哲學思潮的洗禮。見證並親歷了八五美術新潮，並被評為

黃專曾這樣評價谷文達的藝術成就：「谷文達在中國當代藝術史中的地

「極具破壞力」的藝術家。在中國評論家還沒有表現出對中國畫的擔憂

位是由他的兩項工作成就奠定的：對母語文化和西方文化全方位的批判

之前，谷文達就已經開始默默探索這一古老藝術樣式的新方向。1980年

立場和持續性的藝術實驗，而對中國母語文化的批判性重建是其工作的

代早期開始創作的「遺失的王朝系列」已足見藝術家的創新與思索。

出發點和核心內容。」

谷文達1955年生於上海。1979年，文革後恢復高考和大學教學秩序，

1983年至1986年間，他在浙江美術學院創作的《遺失的王朝》系列作

浙江美術學院第一次招收中國畫系的研究生，谷文達順利考入，師從山

品中，解構和重構的篆書字體多以書法的形態呈現。進入1990年代中期

水畫大師陸儼少。陸先生深厚的古典文學與書法功底深深浸染谷文達。

之後，他逐步將自造的字體與傳統水墨山水結合。傳統水墨的勾線，暈

日後的諸多創作中所採用的書法和中國文化的符號與內涵多得自於老師

染，潑墨與不能辨別的「谷氏簡字」結合，形成風格獨特的畫面。他用

的影響。然而中國古典文化的並非他唯一的靈感源泉，他在研究生階段

微妙的文字關係反映錯綜複雜的傳統與歷史，被解構的文字顛覆和破壞

閱讀大量西方哲學、美學、宗教方面的書籍，尤其是尼采、叔本華和佛

了傳統觀念和形式體系。這種文字與圖像的思辨與美國普普藝術大師愛

洛依德的著述對他的藝術思想影響深遠。用象徵的方式把閱讀中獲取的

德華．魯沙有異曲同工之妙。魯沙關注的更多是美國流行文化與文字的

啟示與靈感表現出來，模仿西方現代藝術，是那一時期藝術界的普遍做

關係。在西方藝術傳統中，文字一直被視作是對圖像的入侵，而魯沙則

法。谷文達則表現出觀念上的超越，他試圖跳脫自己過去參照西方現代

用文字來構建圖像，創作作品。相反地，中國的文人畫傳統中，優雅的

藝術來衝擊中國畫的實踐，重新審視中國古典傳統。在當時學習西方的

詩文是對畫面的補充說明，書畫不分家，畫面上的題字與詩詞協助觀者

主流熱潮中依然保持個體的獨立思考實屬不易。

理解畫面或作者抒情的方式。在Lot 070《遺失的王朝G系列十號》中， 作為畫面補充說明的文字成為了畫面的主體，淡墨勾勒的山石和濃墨點

1980年代早期起，中國文字的魅力就為谷文達打開了一個新世界。中

染的樹叢構成的山水圖示則反主為客，退居從屬地位。看似熟悉的圖像

國文字，更精確地說是漢字，在中國的歷史文化中一直扮演著舉足輕重

挑戰著人們對於傳統中國畫的認知和理解。1987年谷文達移居美國，他

的角色。在漢人撰寫的歷史中，掌握文字一直是精英階層引以為傲的特

在文化接受和藝術表達上獲得了跟多的空間。《遺失的王朝》系列也隨

權，對於少數民族的漢化也起著至關重要的作用。漢字本身的解構特

之延展了其文化內涵的深度和廣度。從1980年代早期的繪畫探索延展至

點，以及聲形兼備的構造方式，使得它成為了一種無法比擬的書寫符

書寫性的文字實驗，再將書寫與傳統圖示相結合，拓展說莫的邊界。他

號。在漢字發展的漫長歷史中，字體的變化也一直是文人學者爭相研

的實踐證明瞭中國的文化符號也可以在世界文化中具有普遍性，得到廣

究、考據的重要內容。因此在1980年代中期狂熱的反傳統的藝術熱潮

泛的共鳴。

Ravenel 131

Over the past decade, Yue Minjun has enjoyed high levels of

perfectly exemplifying the personality cult of a post-absolutist

visibility for his melodramatic art forms within the contemporary

culture. The artist uses humor to demonstrate the power of irony,

Chinese art scene. He plays an important role in "Cynical Realism,"

which is perhaps the "self" of contemporary Chinese art as well as

which is exemplified by his distinctive style of exaggeration and

the most revealing form of his "self-image." Yue once stated, "When

subversive humor. He has been producing paintings and sculptures

an image is duplicated continuously, the subsequent strength in

using caricatures of his own image since the 1990s, an approach

numbers produces an immense force. Once the image transforms

he is beginning to employ in the creation of his sculptures. Yue

into an idol, I am able to manipulate and utilize the image repeatedly.

also borrows freely from the exaggerated, willfully distorted public sculptures of 60s and 70s China and integrates them

An idol has the force of life; it often influences our everyday lives and regulates our conduct by imposing itself as an

into his artworks, transforming them into a sort of "self

example. Contemporary society is an idolized society;

image" of the nation. An artist’s cultivation of his creative

hence its culture has become an idolized culture. "

methods is usually a long, arduous process. To give his

(Diana Yeh, The Wisdom of Fools) Yue is using his

artworks more possibilities of introspection, Yue began

unique language to criticize the many contradictions

to contemplate the questions of how to minutely observe

that contemporary China faces as it continues to move

people’s everyday lives and to express himself through

forward through the 21st century.

experience and tolerance. He eventually found his answers in a true Oriental fashion – the concealment of true thoughts

岳敏君在過去10年來的創作中以昭彰的藝術形象立足於中國當

and feeling with falsity and nor malization.

代藝術界，誇張而略帶幽默的創作風格使其在「玩世

Cynical realism, a movement that was thus

現實主義」中佔有一隅之地。自上世紀90年代起

engendered, is the thoughtful interrogation

岳敏君就在繪畫作品中，多次以誇張的意味來

of the world through irony and humor, and

使用自己的形像，而這一形象又逐步蔓延到其

Yue is no doubt one of the most well known

雕塑領域裡。1960、1970年代中國那些誇張且

cynical realists of today.

被肆意扭曲姿態的公眾雕塑作品也會不經意地 被運用在岳敏君的作品裡，成了民族性的「自

"Laughter originates from pain, and pain

我形象」。藝術家研習創作的經歷往往是一個

is the essence of life," said Yue, an artist

漫長的過程，為使作品變得更加內省，開始苦苦

who laughingly observes life with his artistic

思索如何用密切觀察生活，體驗並容忍的方式進行

creations. In his "Contemporary Chinese

自我表達，岳敏君在真正的東方時尚中找到了答案， 也就是用虛假的常態遮蓋真實的想法和感受。由此產

Warriors" collection, which he began working on in 2000, the artist engaged in a strong visual

生的一個運動就是「玩世現實主義」，即以諷刺或幽默的

response to the 7000 terracotta warriors that were

態度審查深層事物，岳敏君就是最著名的玩世現實主義者之

produced during the Qin dynasty (221 – 206 BC).

一。

Rediscovered in Shi’an in 1974, the terracotta army is one of China’s the most renowned tourist

「笑是源自痛苦，人生本質，就是痛苦。」岳敏君用創作笑

destinations. Yue tried to digest and regurgitate

看人生。2000年開始的「現代兵馬俑」系列，這些雕塑作品

this historical energy by turning these signifiers

表達了藝術家對七千尊強壯的秦代陶俑（西元前221–206年）

of cultural tourism into a revelation of the public’s

的視覺感應。1974年在西安發現秦兵馬俑，是中國的世界著

eager ness to identify in the warriors’ makers

名文化景點之一，試圖將某種歷史能量吐故納新，把「兵馬

characteristics of individualism and cultural

俑」這一具有文化旅遊性質的意識符號，轉向普眾引導出外界

heroism. The creation of "Contemporary Chinese

對「現代兵馬俑」製造者的個人文化英雄主義者的意願。這同時

Warriors," was also a form of stage performance, a way of magnifying the artist’s self image and

又是一種舞台式的表演，自我的放大，成就出一種「英雄」，岳 敏君將自我塑造成複數化的新偶像，集體的、民族性的形象。

formulating a modern "hero." Yue multiplied these images and shaped himself into a new pluralized

現代兵馬俑雕塑系列由玻璃纖維著色而製，將25件相同的人形塑

idol, an image representative of collectivity and

像組成以保齡球樽式或圓形陣勢排列。如此安排突出一種膚淺、幽

national character.

默和百無聊賴的氛圍，表達出當今空虛無聊的精神世界。作品造型

The Contemporary Chinese Warriors collection is

自信、自戀、熟識一切而無睹，帶有後專制主義特點的個人崇拜。

made of colored glass fiber. The artist arranges

藝術家用幽默的方式傳遞一種諷刺的力量，這也許正是中國當代藝

甚比真人，咧嘴大笑，緊閉雙眼，動作憨態，但若有所思間卻充滿

25 identical human figurines into triangular

術的「自我」，也是岳敏君最直接的「自我形象」。岳敏君

bowling pin or circular configurations. These

說過：「當一個形象被不斷複製時，數量的後續力將會產生

arrangements highlight the senselessness,

巨大的能量。一旦形象變成了偶像，我就能夠反覆利用這

humor and folly of today’s vacuous spiritual

個形象。偶像有生命力；它通常影響我們的生活，並把自

world. The life-like figurines laugh with toothy

身作為一個典範來約束我們的行為。當代社會是一個偶像

grins, tightly shut eyes, and a silly demeanor,

化的社會；因此其文化也就變成了偶像化的文化。」（戴

yet appear to be thoughtfully confident, narcissistic and assured as

安娜．葉《愚者的智慧》）。岳敏君以其獨特的語言批評中國當代面臨

they turn a blind eye on things they deem to be familiar and banal,

二十一世紀持續發生的諸多矛盾。

071

YUE MINJUN

(Chinese, b. 1962)

Contemporary Chinese Warriors 2000 Fiberglass, paint, iron base, edition number 3/7 60 (L) x 53 (W) x 186 (H) cm Signed on the reverse yue min jun , edition number 3-7 and dated 2000 EXHIBITED: Yue Minjun and the Symbolic Smile , Queens Museum of Art, New York, 14 October, 2007 – 6 January, 2008 ILLUSTRATED: Yue Minjun – The Lost Self , Hebei Education Press, Hebei, Shijiazhuang, 2005, color illustrated, pp. 200-209 Collected Edition of Chinese Oil Painters: Volume of Yue Minjun , Chengdu, Sichuan Fine Arts Publishing House, China, 2006, Chengdu, color illustrated, pp. 156-165 Contemporary Artists Collection – Yue Minjun , Sichuan Fine Arts Publishing House, Chengdu, China, 2007, color illustrated, pp. 64-65

HK$ 320,000 - HK$ 480,000 NT$ 1,345,000 - NT$ 2,017,000 US$ 41,200 - US$ 61,900

岳 敏君 現代兵馬俑 2000 玻璃纖維 油彩上色 鐵製底座 版次3/7 60（長）x 53（寬）x 186（高）cm 簽名後方：yue min jun 2000 3-7 展覽： 「岳敏君：標誌性笑容」，皇后美術館，紐約，展期自 2007年10月14日至2008年1月6日 圖錄： 《岳敏君：迷失的自我》，河北教育出版社，石家莊， 2005年，彩色圖版，頁200-209 《中國油畫家全集：岳敏君》，四川美術出版社，成都， 2006年，彩色圖版，頁156-165 《當代藝術家叢書—岳敏君》，四川美術出版社， 成都，2007年，彩色圖版，頁64-65

Ravenel 133

072

ZHOU CHUNYA

(Chinese, b. 1955)

Black Line Series 1995 Oil on canvas 100 x 80 cm Signed lower right Zhou Chunya in Chinese and dated 1995

HK$ 1,200,000 - HK$ 1,800,000 NT$ 5,042,000 - NT$ 7,563,000 US$ 154,600 - US$ 232,000

周春芽 黑線條系列 1995 油彩 畫布 100 x 80 cm 簽名右下：周春芽 1995

Ravenel 135

BLACK LINE SERIES ZHOU CHUNYA

In examining the artistic movements and stylistic developments

movements he had discovered in Germany with the traditional

of Chinese artists over the past few decades, Zhou Chunya stands

elements of Chinese literati painters. While his contemporaries

apart from his contemporaries. In inspiration, symbolism, technique,

in China were participating in the New Wave, Cynical Realism,

and purpose, Zhou has effectively developed his own artistic

and Political Pop movements saturated with social and political

direction, continually diverging from the movements around him

commentary, Zhou chose subject matter quintessential to the

to explore and establish his own means of expression through art.

literati aesthetic, devoid of the contentious activism inherent in the

Rejecting participation in the politically and ideologically charged

movements around him.

artistic theories celebrated by other contemporary artists in China, Zhou instead cultivated his own passions and interests through the

While unmistakably influenced by traditional literati painters such as

establishment of several iconic series: "Tibet", "Stones", "Flowers",

Dong Qichang, Shi Tao, Bada Shanren, and Huang Binhong, Zhou’s

"Peach Blossoms", and "Green Dog". Zhou’s unique and distinctive

exploration of traditional themes sought to expand upon existing

voice has earned him recognition throughout his career, culminating

conventions by incorporating the brash colors and influences of

in his first retrospective held at the Shanghai Art Museum in 2010.

Western artistic movements.

The same year, Zhou was named Artist of the Year at the 2010 Art Power Awards, a title awarded the previous year to his close

During the 1990s, the era in which waves of Art Nouveau pervaded

friend, Zhang Xiaogang. Zhou’s refusal to mold his artistic voice to

the art scene and the Chinese Economic Reform had just begun,

a discernable movement has set his work apart in both originality of

officially endorsed art in China still primarily served political and

style and expression.

moral purposes. Many artists embarked on critiques of the status quo, but Zhou once again chose to diverge from the mainstream.

Zhou’s first departure from the artistic movements around him

He steered clear of prevailing languages in the art circle, such

came in the aftermath of the Cultural Revolution. While Zhou’s

as political Pop, by delving wholeheartedly instead into Chinese

classmates at the Sichuan Fine Arts Institute united to express the

literati landscape painting, and attempted to establish his own

social upheaval and historical trauma of the Cultural Revolution

distinctive style by navigating between traditional ink wash, abstract

through the newly established Scar Art movement, Zhou elected

expressionism and expressionism.

instead to focus on depictions of the idyllic, agrarian lives of the Tibetan people. Zhou explains that while he appreciated the Scar Art

Although influenced by a wealth of traditional Chinese artists, such

narratives of his peers, his artistic interests lay elsewhere, stating, "I

as Dong Qichang, Shi Tao, Bada Shanren and Hung Binhong, Zhou

only wanted to sketch from life because in so doing I was confronting

still strove to rediscover the essence of traditional Chinese painting.

an immediate, living nature. This allowed my artistic expression to

He incorporated his findings with the bold colors and aesthetic

remain at one with my passions. " Zhou’s Tibetan studies do not

theories of Western art, thereby opening up an entire new field

represent politicized metaphors or social theories, but instead focus

from the existing realm of traditional art forms. The most commonly

on the simple aesthetic inspiration that Zhou found in the colors and

seen creative style in his works from the 1990s was a tentative neo-

rustic beauty of both the people and landscape.

expressionist integration of the color black in traditional Chinese ink wash with German expressionism. The artist blended his artistic

Following his time in Tibet, Zhou left a socially tumultuous China

thought into his colors and lines, and regarded himself as a painter

to obtain his master’s degree at the Gesamthochschule in Kassel,

who communicated through form. "Black" was the main tone in

Germany. Of his time in Germany, Zhou claims "the classroom where

many of his renowned works of the 1900s, while portraits painted on

I really studied was the art museums and galleries of Germany

black backgrounds, semi-abstract human figures, stones and rocks

and other European countries." Exposure to Western artistic

formulated the gist of his subject matter. Ravenel has presented

movements such as Cubism, Expressionism, Fauvism, and the Neo

many celebrated works of this style in its previous auctions.

– Expressionist "Junge Wilde" (Wild Youth) theory expanded Zhou’s aesthetic and stylistically influenced his artistic exploration.

Completed in 1995 and distinctly different from Zhou’s customary themes of stones and rocks or semi-abstract human figures, "Black

Despite Zhou’s identification with the artistic movements he

Lines," where all figurative elements have been withdrawn and all

discovered in Germany, he did not remain there long, returning to

intelligible visual clues are absent, features a simple combination

China in 1989. China has always held certain sway over Zhou, who

of black and sienna. The black lines that form the foundation of

states simply, "I have been deeply influenced by Chinese tradition,

the canvas are arranged in order and diffuse from the center, while

which I can never be rid of wherever I am. " It was in pursuit of this

another layer of methodically positioned lines cover the previous

Chinese tradition that Zhou developed both his Stone and Flower

layer from an alternate direction. The swiftly swept strokes leave

series, combining the visual experimentation of the Western modern

clear, recognizable traces of speed and power. The pigments on

the top layer in sienna and black form an uneven texture upon

在新藝術浪潮洶湧的1990年代，中國改革開放剛剛開始，官方主導

the canvas. This piece gives no clear indication of meaning; it is

的美術主流依然是以政治和道德目的為先導。很多藝術家以批判為切

neither a critique, nor a tribute to anyone or anything. It simply

入點進行創作。周則在此時再次選擇與主流背離。他避開政治普普等

reflects the artist’s self-expression of his individual creative

藝壇流行語言，潛心研究中國文人山水傳統，並試圖在傳統水墨和抽

process. The composition is similar in style with Zhou’s 1992

象表現主義，及表現主義之間確立自己的風格。周春芽雖然受到董其

"The Spirit of Landscape," a lot that was previously presented

昌、石濤、八大山人和黃賓虹等傳統藝術家的影響，但仍致力挖掘傳

in the 2012 Ravenel Spring Auction. In “Black Lines,” however,

統繪畫題材之精華，融入西方藝術的大膽用色與理念，在既有傳統領

Zhou’s abstract expressionist approach is substantiated in a

域中開闢新局。其1990年代的作品中，最常見的風格嘗試即將中國傳

deeper, more profound form. The title of this piece is in itself

統水墨繪畫的黑色與德國表現主義，新表現主義的結合運用。藝術家

an intriguing statement. While titles of artworks usually guide

將藝術的理念融入色彩與線條，他自認為是以形式來溝通的畫者。在

viewer interpretation, abstract paintings often very much avoid

1990年代的佳作中有相當一部分是以黑色為主色調。黑色背景的肖像

the provision of suggestion. Just as the title "Black Lines" refers

和半抽象的人體與山石是這一時期最多見的題材。

solely to what is directly visible on the canvas, all possibilities of figurative associations are aptly removed. Viewers may only

此次呈現的作品《黑線條系列》完成於1995年，不同於山石和半抽象

perceive the passion of the artist that is generated during the

的人體，畫面中的具象元素被抽離，任何可讀的視覺線索全部缺席。

creative process by moving along with the rhythmic pulse of the

黑色和赭色奠定畫面基調。基底的黑色線條整齊排列，由畫面中央向

lines painted upon the canvas.

四周擴散，新一層的線條又以整齊的排列從不同方向蓋過。筆刷在畫 面迅速劃過，速度與力量的軌跡清晰可辨。畫面的最上層以赭色和黑

放眼過去數十年中國藝壇的潮流與風格演變，周春芽與其他當代藝術

色顏料做出凹凸肌理。作品並未給出明確的意義指向，不批判，亦不

家卓然不同。在靈感、象徵、技巧與理念等方面，周春芽都有自己獨

頌揚，只是藝術家在作畫時的自我表達。作品在構圖上與羅芙奧2012

特的藝術走向，不隨流行起舞，努力建立自己的藝術表現手法。周春

年春季拍賣中呈現的另一件周春芽1992年創作的作品《山水精神》

芽不願與其他當代中國藝術家一樣，為政治與意識形態掛帥的藝術理

有異曲同工之妙。此件《黑線條系列》則在抽象表現主義的運用上走

論背書，他透過多項代表性系列作品，展現自己的熱忱與興趣，如：

得更遠，更為深入。另外，作品的命名上也預告其意味，作品的名稱

「西藏」、「石頭」、「花卉」、「桃花」與「綠狗」。周春芽獨特

往往會給觀者一定的引導，而抽象繪畫往往會規避任何可能的具象指

的表現手法深獲各界肯定，2010 年更在上海美術館舉辦第一次個人

引。正如這件作品便以畫面的內容命名，拒絕任何具象的聯想。觀者

回顧展。同年，周春芽榮獲 2010藝術權力榜（Art Power Awards）

只有跟隨線條的律動，遊走畫面之中方可理解畫家作畫時的激情。

年度藝術家頭銜，前一年得主是周春芽的好友張曉剛。周春芽不願 以特定流派侷限自己的藝術風格，因此作品風格與表現能夠維持原創 性。周春芽與當代藝術潮流與運動首次脫鉤，是在文化大革命之後。 當時他在四川美術學院的同學發起傷痕藝術運動，反應社會動亂與歷 史傷痕等現況，而周春芽卻以藏人的田園牧歌與農村生活為題材。他 表示，雖然欣賞同儕發起的傷痕藝術論述，但他有自己偏好的藝術主 題，「我只想描繪生活，這樣才能直接與人接觸，讓藝術表現與個人 的真實熱情合而為一。」周春芽的西藏作品並非再現政治化隱喻或社 會理論，而是在藏人身上與西藏山水中發現獨特的色彩與樸實之美， 使他傾注心力於簡單美學。 「西藏系列」創作結束之後，周春芽離開動盪的中國，前往德國卡塞 爾綜合大學攻讀碩士。談到他在德國的生活，周春芽表示，「我真正 的教室是德國與其他歐洲國家的美術館和畫廊。」他接觸西方藝術思 潮，如立體派、表現主義、野獸派、新表現主義者（Junge Wilde 狂 野青年）等理論，拓展了美學視野，更影響他的藝術表現風格。儘管 周春芽十分認同德國的藝術風潮，但他並未在德國滯留太久，1989 年他返回中國。中國對周春芽始終保持某種影響力，如他自己所言， 「我深受中國傳統影響，無論身處何地都無法改變這個事實。」在研 究中國傳統的過程中，周春芽創作了「石頭」與「花卉」兩個系列的 作品，將他在德國學到的現代西方視覺實驗手法，與傳統中國文人畫 家的藝術元素相結合。在其他當代中國藝術家熱情參與新浪潮（N e w Wave）、玩世現實主義與政治普普運動等藝術潮流之際，周春芽選擇 與文人美學有關的主題，避開了週遭藝術運動的爭議性激進主義。

ZHOU Chunya, The Sprit of Landscape, 1992, oil on canvas, 100 x 80 cm, Ravenel Taipei Spring Auction Lot 150 US$320,963 sold 周春芽《山水精神》1992 油彩 畫布 100 x 80 cm 羅芙奧台北 2012春季拍賣會 編號150 成交價：HK$2,487,047

Ravenel 137

073

YUE MINJUN

(Chinese, b. 1962)

Hat Series 2005 Oil on canvas 140 x 170 cm Signed lower right yue min jun in English and dated 2005 Signed on the reverse yue min jun and titled Hat Series in Chinese and dated year of 2005 ILLUSTRATED: Reproduction Icons: Yue Minjun Works 2004-2006 , He Xiangning Art Museum, Shenzhen, China, 2006, color illustrated, pp. 96-97

HK$ 1,800,000 - HK$ 2,800,000 NT$ 7,563,000 - NT$ 11,765,000 US$ 232,000 - US$ 360,800

岳敏君 帽子系列 2005 油彩 畫布 140 x 170 cm 簽名右下：yue min jun 2005 簽名題識畫背：帽子系列 岳敏君 2005年 圖錄： 《複製的偶像：岳敏君作品2004-2006》，何香凝美術館， 深圳，中國，2006年，彩色圖版，頁96-97

Ravenel 139

岳敏君的敘事風格向來張揚、戲謔，給人玩世不恭，幽默的聯想，然而

岳敏君自2004年開始創作《帽子系列》試圖以新的視角進一步探討人

仔細觀察，那些簡單明瞭具有廣告宣傳意味的風格、標誌或是符號，在

們在當今社會的身份和功能角色。他表示，「我開始對帽子感興趣，是

笑容的背後，反映的卻是當代社會殘酷的現實問題。藝術家進行著一場

從雅典奧運會開始，在此運動會中，不同形狀的帽子由不同的橄欖葉所

「偶像製造」的工程，然而不斷的改寫、重覆的詮釋之後，反而達到反

製作而成，代表著不同程度的獎章。而此一妙法也不禁讓我回想起「帽

偶像的目的。緊閉雙眼張嘴大笑的面孔，宛同卡通的形象一樣，表情變

子」是從何時開始有的？為何此一生活服飾配件會成為工作及社會地位

化不需太多。粉紅色膚色，一整排如牙膏廣告式的潔白牙齒，簡單化、

的象徵？又或者是國籍及人種的象徵？今日，不再有任何協會及社團強

程式化、宣傳化的形象，容易深植人心，岳敏君的笑臉人物成為中國當

制要求穿戴帽子，除了我們於日常生活中所見的建築工人、員警，軍人

代藝術最重要的符號之一。藝術家從與世界的互動中反映在創作之中，

及護士。在此系列作品中為突顯帽子對不同的族群及團體所擁有不同的

根據岳敏君自述，每個系列作品就像寫劇本，勾勒故事的輪廓，而靈感

說服力，在我的荒誕的想法裏，社會政治的規定及禮節，如同是於不同

皆來自他的思維框架和情緒。

人物身上所穿戴不同的帽子。」 岳敏君將次系列作品主動地與過去的創 作相互摩擦、再碰撞，在作品處於接受與被接受的狀態中，尋找產生新

1985年，對於剛剛步入大學的岳敏君而言，可以說是命運和創作的雙

的創作方式的可能性。繪畫一直以來處於一個被動接受的角色，從來不

重轉捩點，當時的中國藝術正在面臨著傳統文化與現代文化、鄉土文化

是一個主動的施予者，是等待畫家作為主動者，施予其色彩、形象、構

與都市文化、本土文化與外來文化、集體主義與個人主義的激烈碰撞時

圖等，從而表現出內省與思考。

期，藝術界的思想動盪催生了對中國當代藝術史產生意味深遠的「85美 術思潮」。在這場社會思潮與美術新潮的雙重撞擊下，極大地影響了岳

《帽子系列》正是表現了當代人頭腦空白、思維貧瘠的現狀。岳敏君的

敏君後來的創作。對於當時岳敏君和他同時代的人而言，解決這種社會

作品中有很多形式都是借鑒了傳統文化，同時又對應當下流行熱點進

荒誕性的途徑就是採用幽默與諷刺為之博弈。並探索所有在現有風格和

行再解讀。作品中人物沒有獨特的性格，代表著一個厭倦循規蹈矩的世

內容上發現的新的藝術形式。他們曾被迫為宣傳海報作畫，之後能為堅

代。人物的兩種社會角色以其鮮明的職業符號劃分開來，一組三人望其

守自己初心的表現形式而雀躍，並在作品中探求代表不安，憤怒和困惑

肩項不見容顏。一個緊閉雙眼，牙齒盡露的笑容顯然是一種集體心理傾

的玩世現實主義世界。

向的象徵，凸顯現代化之路固有的極端和矛盾的對峙引人深思。畫家對 權力的諷刺和對權力崇拜的諷刺都非常到位。狂笑的無稽也是繼續令其

此系列是岳敏君具有代表意義的傑作，採用了普普藝術的形式和卡通漫

的作品在社會政治意義上歷久不衰的原因。畫家運用了鮮亮的粉色調，

畫、宣傳畫和廣告的技巧。曾梵志採用了面具的創意，岳敏君則創作了

但卻感覺十分冰冷。他們笑著，你在畫外卻只能感覺到悲傷。原因正是

他極具諷刺的笑容自畫像，用這種方法詮釋具有自由、獨立思想的個體

他那看似簡單的藝術風格，加上新精確而有效的隱喻和暗示。《帽子系

如何被當做忤逆之徒。岳敏君說他是受到電影的啟發，演員飾演不同的

列》的作品同時也表現人們生存在這個社會，承擔起不同的角色，甚至

角色，但角色背後卻是演員本人，例如標誌性的人物瑪麗蓮．夢露，而

需要掩飾原來的自己。對於岳敏君個人而言，帽子要比任何東西更能表

標誌則傳達著某個資訊，岳敏君就從這一點想到使用誇張的自畫像作為

達人的個性，「帽子的選擇從來不是件可以馬虎的事情。帽子是我們對

諷刺個體和社會弊病的工具。他描繪的大臉盤、嘻哈的大嘴露出光閃細

個人形象、風格的表達」。他幽默地說，大家都應小心謹慎地選擇適合

密的小白牙，緊閉雙眼的形象，成為時代的符號，面對沒有意義、殘酷

自己的帽子，不要隨隨便便的就往頭上「亂扣帽子」。讓作品催生出不

而荒謬的世界，我們確實能夠會心一笑。

同的反應，這正是偉大的藝術家的標誌。

People often associate Yue Minjun’s bold, ironic narratives with

Yue began to work on his "Hat Series" since 2004 in an attempt

cynicism and humor. However, upon careful observation of his

to explore how people’s identities and roles within society may be

artworks, behind the exaggerated laughter, those simple, succinct,

differently perceived. He said, "I began to be interested in hats with

almost propaganda-like styles, signs and symbols in fact reflect the

the advent of the 2004 Athens Olympics. The variously shaped hats

cruel realities of contemporary Chinese society. The artist seems to

were made from different kinds of olive leaves in their representation

be engaged in a project of "idol making," but the endless revisions

of different medals. I began to wonder, when did people begin to

and repetitive interpretations have the reverse effect of making the

wear 'hats?' How did this everyday accessory become the symbol

artworks a form of "anti-idolization." The cartoonish image of a face

of work and social status? A symbol of nationality and ethnicity?

with tightly shut eyes and ridiculous grin does not need to convey

Today, except for certain common occupations, such as construction

changes in expression. The bright pink complexion and shining

works, police officers, soldiers and nurses, no form of associations or

white teeth resembling those of a toothpaste commercial appear

groups still forces people to wear hats. In my absurd interpretation,

simplified, programmatic, propagandistic, easily rooted in the

I established a set of social codes and etiquettes that designate

minds of unsuspecting people. Yue’s laughing figures have become

which hats should be worn by which people to highlight the

one of the most important symbols of contemporary Chinese art.

powerful influence and meaning of hats within different nationalities

The artist’s work reflects his interactions with the world. According

and groups. " Yue purposefully utilized the works in this series to

to Yue, the process of creating each collection is similar to script-

create abrasions and collisions with his previous creations, so that

writing where one must delineate the outlines of a story using

his works remain in a state of indeterminacy and allow him to seek

inspirations that arise from his framework of thoughts and emotions.

further possibilities in creative methods. The art of painting has always been submitted to a passive, receptive role. It has never

To Yue, a young man who just entered college back then, 1985 was

been a vessel of active bestowment; it always awaited the artist to

a turning point in both his personal life and artistic career. Chinese

give it color, image and composition. This, to some extent, is the

art was during that period undergoing a series of violent cultural

representation of introspection and self-contemplation.

collisions: traditional vs. modern, rural vs. urban, local vs. foreign, the collective vs. the individual. The turbulence

The "Hat Series" shows the mindlessness and

in the contemporary Chinese art circle gave rise

barrenness of contemporary people’s thoughts.

to the highly significant "85 Art Movement." The dual impacts of transformations in social thought and artistic trends greatly influenced Yue’s later works. To Yue and his contemporaries, the only way

HAT SERIES

Yue borrowed heavily from traditional culture in

YUE MINJUN

the same time engaging in the reinterpretation and

to resolve such social absurdities was to gamble

the shaping of many of his art works, but was at reflection of contemporary trends. The figures in this work have no defining characteristics, implying

recklessly with humor and irony as they fully explored and assessed

an entire generation disgusted with regulations and the observation

existing styles and content in the search of new, previously unknown

of rules. In this painting two social roles are distinguished by two

art forms. These artists were once forced to paint propaganda

distinctive occupations. A group of three people stand with their

posters, which made them exceptionally grateful and exalted for the

backs to the viewer. The one showing his face with its tightly shut

way they were later able to stand by their original intents and forms

eyes and toothy grin is obviously the symbol of a collective mindset,

of representation as they attempted to reveal the cynical realism of

one that also exhibits the existing extremities and contradictions

a world filled with anxiety, anger and confusion.

of the path to modernization. The artist perfectly portrays the irony of power and its worship. The absurdity of the exaggerated laugh

This collection is indeed Yue’s representative masterpiece in his

is also the reason why his works continue to hold strong social

adoption of techniques derived from Pop art, cartoons, propaganda

and political significance. Although the artist employs bright pink

graphics and commercials. Zeng Fanzhi exerted his creativity with

tones, the whole painting still appears to be chilling and cold. In the

masks, while Yue exhibited his with the use of deeply ironic laughing

painting, the figures are laughing, yet their viewers only feel a sense

self-portraits that convey how free and independent individuals

of inexplicable sadness. The effect is the culmination of his simplistic

are treated as rebels. Yue said he was inspired by the movies, by

artistic style and precise but effective power of implication. The "Hat

how actors play various roles within them yet still retain their own

Series" also indicates that people, in order to survive in society, have

identities. Marilyn Monroe was an iconic example. Icons convey

to play various roles and even hide their true selves when necessary.

certain kinds of information, a concept that inspired Yue to utilize

"Choice of hat is something that has ever been done at will. A hat is

the idea of exaggerated self-portraits as a tool for mocking both

an expression of our self-image and personal style. " Yue humorously

individuals and the ills of society. His image of a wide face, grinning

adds that people should think carefully when choosing a hat for

mouth lined with rows of shining white teeth and tightly shut eyes

themselves and never "wear the wrong hat" (a Chinese idiom that

has become the symbol of the contemporary era. In this world of

means being labeled as something you are really not). To allow the

meaninglessness, cruelty and absurdity, a self-reflective smile is

artwork to incite a variety of reactions, that is the true mark of a great

indeed all we are capable of.

artist.

Ravenel 141

074

CHEN YIFEI

(Chinese, 1946 - 2005)

Zhou Village Oil on canvas 100 x 150 cm Signed lower right Chen Yifei in Chinese and English PROVENANCE: Private Collection, Asia

Born to a family of scholars in Zhenhai, Province of Zhejiang, in 1946, Chen Yifei demonstrated strong interests in religious painting, sculpture and the pipe organ while he was young. He graduated from Shanghai Fine Arts School in 1965 and was later recruited into Shanghai Oil Painting Sculpture Institute as principal of oil painting. In 1980, Chen traveled to the U.S. for further studies in art, and obtained an MFA (Master of Fine Arts) four years later. In 1984, Chen created "Memory of Hometown," an oil painting that depicts the renowned Twin Bridges of Zhouzhuang and which was later exhibited in a New York gallery owned by Armand Hammer, chairman of Occidental Petroleum Corporation, along with

HK$ 1,600,000 - HK$ 2,400,000 NT$ 6,723,000 - NT$ 10,084,000 US$ 206,200 - US$ 309,300

37 other oil canvasses. Hammer purchased "Memory of Hometown" afterwards and presented it to Deng Xiaoping as a symbol of friendship, cooperation and peace between the U.S. and China as embodied by the Twin Bridges. In 1985, it was chosen as the first-day cover of the United Nation postage stamp. Since then, a growing group of international

陳逸飛 周莊 油彩 畫布 100 x 150 cm 簽名右下：Chen Yifei 陳逸飛 來源： 私人收藏，亞洲

connoisseurs have come to know the graceful beauty and rural simplicity of Zhouzhuang old town.

As one of the first privately-financed Chinese students to have studied in the U.S., Chen was able to pursue his master’s degree in art at Hunter College, New York. Choosing to major in oil painting, he specialized in portraits and earned a living by repairing and selling paintings in his spare hours. During his time in the U.S., Yang Mingyi sent photographs he had taken of Zhouzhuang to Chen by mail, and advised him to draw inspiration from this poetic river town. In the spring of 1984, Chen flew to Zhouzhuang for sketches. At that time, the highway from Kunshan to Zhouzhuang was not yet completed and the only entryway into the town was by water, so Chen rented a boat that carried him via Chenmu to the town of Zhouzhuang. "This is indeed a place of otherworldly beauty, more

ethereal than I could ever imagine, " exclaimed Chen on his first ever visit to Zhouzhuang. Owing to the very short period of stay he could afford, Chen was unable to complete sketches of all the scenes he admired, which was why he had resort to the most convenient way to capture its beauty–photography. Under Chen’s magical brushstrokes, photographic images of Zhouzhuang in black and white transformed into dreamy water town of vivid, resplendent color. Not only did he triumph at his first exhibition featuring the scenery of Zhouzhuang, he also developed a curious, inexplicable sense of intimate familiarity towards the previously unknown river town.

Left: CHEN Yifei, Suzhou Canal , 1983, oil on canvas, 76 x 106.5 cm, Sotheby's Hong Kong, April 4, 2016 Sold for HK$2,100,000. 左：陳逸飛《蘇州運河》1983 油彩 畫布 76 x 106.5 cm 蘇富比香港2016年4月4日 成交價：HK$2,100,000 Right: CHEN Yifei, Tree covered Bridge , 1997, oil on canvas, 120 x 120 cm, Sotheby's Hong Kong, October 06 2009 Sold for HK$2,300,000 右：陳逸飛《樹下渡橋》1997 油彩 畫布 120 x 120 cm 蘇富比香港2009年10月6日 成交價：HK$2,300,000

Ravenel 143

Chen created numerous oil paintings that depict the landscapes

meaning of the romantic stories that have been captured in these

of Zhouzhuang with realist techniques that faithfully represent the

poetic sceneries. Such a pursuit in the golden sunset is a lonesome

exquisite charm of this idyllic water town on the southern banks

endeavor, as the roving wooden boat and the singing of the

of Yangtze River. One of these painting, featuring the famed Twin

boatmen form a heartwarming scene of joyful homecoming. In

Bridges and titled "Memory of Hometown," reveals how the

the flowing water and in the sunlit radiance, there appear to be

artist, who lived far from his homeland, exhibited his profound

colors rendered in cooler tones while the songs of the boatmen

attachment to the motherland through each gentle brushstroke.

seem to hover and resonate. Waves ripple, one layer after another, touching the river banks and surging back again, while

Chen Yifei’s "Water Town" collection may be divided into two

the depiction of the empty pier and mossy steps is remarkable in

different distinct styles: one brilliantly resplendent, opulent and

detail and delicacy. In these paintings that depict his homeland,

magnificent, while the other features muted tranquility and hints

Chen vividly represents the bridges, waters and rural landscape

of sorrow. Each of those pieces captures and suspends a lonesome

of southern China with masterful techniques in oil painting and

moment of stillness and serenity. Accompanied by verdant trees,

traditional Chinese ink wash.

aged houses and rippling waves, a touch of sunlit warmth climbs dyes the white walls and shipboard golden yellow, a slight touch

Chen was very subtle and meticulous during this period of his

of passionate emotion that sets off the quiet and seclusion of the

artistic career. To create these elegant and placid landscapes,

artistic conception. The "bridge," moreover, is a theme that best

the artist adopted the "sfumato " technique to fully achieve the

reflects the temperament of a water town with landscapes formed

evolving gradation of color throughout his canvas, a technique

by bridges, water and houses. On clear waters and between the

that perfectly mirrors the delicacy and haziness of a dewy water

s h a d e s o f l u s h t re e s , a s m a l l b o a t

town. His simple choices of color

glides under the bridge. On the

emphasize the contrast between

bridge an old man takes a moment of

light and dark. The interventions,

respite while underneath it a peasant

contrasts, meeting and parting of

woman washing her laundry, a scene of

dots, lines and dimensions, moreover,

perfect harmony and humble pleasures

are rich in traditional Chinese artistic

and a beautiful sight that has been

sentiments and charms, quite possibly

preserved by the artist for eternity.

a projection of the artist’s nostalgia for

Such spirited and steady touches,

his faraway home. Among many of the

converging at certain moments while

"Water Town" canvasses, this piece

liberating in others, create billowing

features one of Chen’s most classical

waves upon the canvas. The textures

compositions. Under his casual but still

are calming and smooth, yet at times distressed and blemished, reminiscent of the artist’s vague, dreamy nostalgia of Yangtze riverside sceneries. The frequently depicted "Twin Bridges,"

well-regulated strokes, the canvas is The industrialist, Armand HAMMER, presenting the painting "Memory of Homeland – Double bridge" by Chen Yifei to Deng Xiaoping in 1985.

enveloped in tender tones of yellow

實業家阿曼德．哈默於1985年將陳逸飛的《家鄉的記憶 – 雙橋》 贈送給鄧小平。

v i b r a n t g ro w t h , d i s t i n c t l y u n i q u e

located in the northeast of the town,

and green that imbue liveliness and in comparison with other works of nostalgic sentiment. Such a sentiment

are comprised of a stone arch bridge and a stone beam bridge

stems from not only Chen’s attachment to his birthplace but also

at the confluence of Yinzi Creek and Nanbai River. The stone

his pursuit of cultural roots.

bridges, arching over clear sparkling waters, were built in close proximity, forming a delicate interlocking structure. One spanning

Chen Yifei’s "Water Town" collection also includes "Old Bridge"

horizontally and the other vertically, decks decorated with

(1983), "The Place Where I Played as a Child" (1984), and

openings one square and one round, the two bridges resemble the

"The Silent Canal" (1985). In the presence of Chen’s landscape

shape of an ancient key, which is why they are also called the “Key

paintings, we feel a sense of extraordinary calm and enchantment

Bridges.”

that enables our thoughts to wander toward a kind of otherworldly tranquility. Submerged in this absolute serenity, we begin to feel

"Zhou Village" exhibits the serenity and ephemerality of water

the powerful influences of strong exotic sensuality and mysterious

town landscapes. The warm tones enable viewers to perceive

Oriental atmosphere. This is a subjective and romanticized

the remote antiquity of the rocks lying by the river bank, while

water town in southern China, a figurative place built upon

the graceful ambiance of this water town is displayed through

the imagination, understanding and desire that the West has

the gradient shades of blue reflected upon the latticed windows.

formulated of the East, a typical perspective of "Orientalism." It

It is a great enjoyment to stand in front of Chen’s "water town"

allows people of the West to envision a quaint, mysterious world

l a n d s c a p e p a i n t i n g s . A s o n e ’s v i s i o n t r a v e l s b e t w e e n o n e

of the East, an "Orient" that is "different from" the West but still

landscape and another, one seems to comprehend the underlying

subject to their understanding, imagination, and interpretation.

江南水鄉之周莊風貌

1964年，陳逸飛出生於浙江鎮海的一戶書香門第，年幼時，對宗教繪

在的「雙橋」由一座石拱橋和一座石樑橋組成，位於古鎮東北。清澈

畫、雕塑以及管風琴產生了濃厚興趣。1965年畢業於上海美術專科學

的銀子浜和南北市河在此交匯成十字，河上的石橋便連袂而築，顯得

校，入上海畫院油畫雕塑創作室，曾任油畫組負責人。1980年，陳逸

十分別致。橋面一橫一豎，橋洞一方一圓，樣子很像古時候使用的一

飛赴美留學。四年後獲藝術碩士學位。1984年以雙橋為題材，創作了

把鑰匙，故稱鑰匙橋。

一幅題為《故鄉的回憶》的油畫，連同其他37幅油畫在美國西方石油 公司董事長阿曼德．哈默的畫廊展出，後又被哈默購下，作為禮物送

這幅《周莊》展現的是水鄉幽靜而靈動的曠遠景色。色彩溫暖使人領

給鄧小平，以「雙橋」象徵中美兩國人民的友誼、合作與和平。1985

略了駁岸邊石枕上的遠古沉澱；花格窗泛出的粼粼水影使人悟出了水

年，這幅油畫又被印上當年聯合國首日封。由此，世界上越來越多的

鄉內涵和風情。站在陳逸飛水鄉作品前流覽是一種令人嚮往的精神享

人領略了周莊古鎮秀美的風光與古樸的風韻。

受，懷舊神遊，彷彿一不小心便可派生出許多詩情畫意的感人故事。 金黃色的暮色裡這種追覓是孤獨的，櫓搖木船與勞動的人影唱和出一

陳逸飛作為中國第一批去美國的自費留學生，在紐約亨特學院攻讀美

派歸家的溫馨場景，在流動畫面中，略顯冷調的輝光裡，幽幽的低徊

術碩士學位，留學期間主攻油畫，以畫人物肖像見長，業餘時間靠給

反復，纏綿不絕。蕩起水波一層一層地拓展出去，一直撞到河岸邊再

別人修畫賣畫維持生計。留美時期由楊明義建議把周莊拍的照片寄給

撞回來；空曠的河阜頭和已是鮮苔斑駁的石階筆觸細緻入微，在這些

陳逸飛，建議他以照片上的水鄉為素材創作油畫。1984年春天，陳逸

描繪自己家鄉的作品中，熟練地運用油畫和傳統的中國水墨畫手法，

飛前往周莊寫生。當時昆山至周莊的公路尚未築通，只能走水路。便

將姑蘇的小橋流水、江南的田園風光，活靈活現地呈現出來。

借了一條小船，經陳墓去周莊。「這麼脫俗的地方，就是一個不食人 間煙火的人間煙火之地啊！」這是當年，陳逸飛第一次到周莊時，情

陳逸飛在這一時期作品仍是較為細膩嚴謹。造景幽靜典雅，全畫採用

不自禁地這樣說。由於時間短促，陳逸飛不能採取在畫板上一一寫生

暈塗筆法展現色調的過渡推移，恰如其分地傳達出水鄉濕潤清秀而朦

的辦法，只能用攝影這種最便捷易行的方法記錄周莊。於是，黑白色

朧的特點。畫面色彩樸實，強調明暗對比，點線面的穿插、對比、聚

的周莊在陳逸飛的筆下幻變成色彩斑斕的夢裡水鄉，周莊不僅讓他在

散也極富中國傳統韻致，這其中應是鬱結著做客他鄉的畫家濃鬱故鄉

之後舉辦的第一次畫展取得了成功，更令他對從未謀面的周莊產生了

情思吧。陳逸飛根據這個意象，用畫筆描繪了一幅幅雙橋圖，原為他

一種撲朔迷離的親切感。以周莊水鎮景色為題材的油畫，陳逸飛作了

對故鄉的回憶。而在眾多《水鄉》為題材的中，此作正是陳先生最拿

好幾幅，都是寫實，沒有變形，充分體現了江南水鄉的神韻。其中描

手的經典樣式，在隨意而不鬆散的筆觸下，畫面被春意盎然的嫩黃綠

繪雙橋的一幅，起名《故鄉的回憶》，每一個筆觸都顯示了這位元海

色調所籠罩而現出生機勃勃的景象來，與其他眾多以鄉愁題材為作品

外遊子對祖國的深深眷戀。

環繞中，更顯得別具一格。這種情思包含的不僅是對現實中生息居留 的出生地的依戀，更是一種文化尋根的追覓與訴求。

陳逸飛所創作「水鄉」題材的作品分為兩類，一為金黃色調的華麗熱 鬧而輝煌；一為灰調樸素寧靜而略帶感傷。每一幅水鄉都定格在一個

陳逸飛江南水鄉系列作品包括：《古橋》（1983）、《童年嬉戲過的

寧靜而空寂的靜謐瞬間。樹木蔥蘢，老宅滄桑，水波寧靜，一抹暖

地方》（1984）、《寂靜的運河》（1985）。看陳逸飛的風景畫，

色光暈掠上白牆船幫，這種淡淡的熱烈反襯了意境的清幽和寂寥。

我們首先感受到的是非同尋常的寧靜，它使人神往，令人陶醉，這是

「橋」這一主題又最能體現水鄉神韻，小橋流水人家是水鄉，碧水泱

一種超凡脫俗的寧靜，在它的籠罩下，濃鬱的異國情調及東方神秘氣

泱，綠樹掩映，小船在橋洞中穿梭，老人在橋上小憩，農婦在橋畔浣

氛油然而生。這是主觀的、浪漫化了的江南水鄉，它是建立在西方對

紗，其情融融，其景美妙。這一場景永遠留了下來。陳逸飛那種靈動

東方的想像、理解和需求基礎之上的，這正是典型的「東方主義」特

而不失厚重的筆觸在畫面中湧動，時而聚匯，時而離散，肌理時而平

徵。它讓西方人看到了古樸、神秘、寧靜的東方世界，一個與西方完

靜舒緩，時而又斑駁躁動，交織出一曲恍惚的江南舊夢。而多次出現

全「不同」的卻為他們所能理解所能想像所能讀解的「東方」。

Ravenel 145

075

ZENG CHUANXING

(Chinese, b. 1974)

Lily 2013 Oil on canvas 90 x 120 cm Signed lower left Zeng Chuanxing in Chinese, inscribed Songzhuang and dated December 2013

HK$ 150,000 - HK$ 240,000 NT$ 630,000 - NT$ 1,008,000 US$ 19,300 - US$ 30,900

曾傳興 百合 2013 油彩 畫布 90 x 120 cm 簽名左下：曾傳興2013.12 宋莊

076

QI ZHILONG

(Chinese, b. 1962)

China Girl 2009 Oil on canvas 161 x 130 cm Signed lower right Qi Zhilong in Chinese and dated 2009

HK$ 160,000 - HK$ 240,000 NT$ 672,000 - NT$ 1,008,000 US$ 20,600 - US$ 30,900

祁志龍 中國姑娘 2009 油彩 畫布 161 x 130 cm 簽名右下：祁志龍 2009

Ravenel 147

077

ZHAO GANG

(Chinese. b. 1961)

I Still Hope American Understand Me 2007 Oil on canvas 130 x 155 cm Signed on the reverse Zhao Gang and dated 07

HK$ 65,000 - HK$ 100,000 NT$ 273,000 - NT$ 420,000 US$ 8,400 - US$ 12,900

趙剛 我還是要美國人理解我 2007 油彩 畫布 130 x 155 cm 簽名畫背：Gang Zhao 07.

078

YAN LEI

(Chinese, b. 1965)

Climbing Space Series – Cantor Arts Exhibition Center A 2004 Acrylic on canvas 131 x 198.5 cm Signed on the reverse Yan Lei in Chinese, and titled Climbing Space Series – Cantor Arts Exhibition Center A in Chinese and dated 2004

顏磊 上升空間 － 坎特藝術中心A 2004 壓克力 畫布 131 x 198.5 cm 款識畫背：上升空間 – 坎特藝術中心A 2004 顏磊

HK$ 70,000 - HK$ 110,000 NT$ 294,000 - NT$ 462,000 US$ 9,000 - US$ 14,200 Ravenel 149

079

OUYANG CHUN

(Chinese, b. 1974)

Witch's Aquarium (diptych) 2005 Oil on canvas 81 x 65 cm (each)

HK$ 130,000 - HK$ 190,000 NT$ 546,000 - NT$ 798,000 US$ 16,800 - US$ 24,500

歐 陽春 巫婆的水族箱（雙聯幅） 2005 油彩 畫布 81 x 65 cm（每幅）

Ridiculousness and sarcasm can be found in most paintings of Ouyang Chun.

Ouyang believes "reality and fantasy overlap in everyone's world everyday, it is

happening in the human society all the time; hence ridiculousness is meant to be the theme of this world ". Without any deliberate mystification, his works are not lack of intensions: the bright colors and childlike raw strokes, no signs of repeated symbols or similar pictures; his paintings are vibrant with fascination and emotional appeal, breathing out childhood delight.

While communicating with the public through innocent and emotional drawings, the artist himself has a relatively complicated life experience and redundant rational thinking of art career. Ouyang dropped out high school and came into contact with people in all walks of life, including many low lives and hooligan which later became the typical figure of evil in his art works. 歐陽春的繪畫，作品主題大多與荒謬、諷刺分不開。歐陽春認為「真實和虛假的重 疊每天在每個人的世界裡呈現，在人的集體社會中演繹，所以荒誕註定就是這個世 界的內容」。他的作品既沒有深不可測，也不膚淺，鮮豔的色彩，兒童般稚拙的線 條，沒有重複性的符號，沒有相似的畫面，卻充滿了無窮的感染力，帶給觀者童真 的樂趣。 在以天真與感性的繪畫吸引公眾的同時，藝術家卻有相對複雜的生活經歷、對藝術 之路有過多理性的思考。他在中學時放棄學業，並曾經和社會各階層的人相處以汲 取更豐富的生活經驗，而這些人在歐陽春日後的作品中化身為罪惡的代表。

Ravenel 151

080

LI JISEN

(Chinese, b. 1970)

Assault on a Temple 2007 Oil on canvas 180 x 150 cm Signed lower right Li Jisen in Chinese and English, dated October of 2007 Signed on the reverse Li Jisen in Chinese and English, titled Assault on a Temple in Chinese, inscribed 150 x 180 cm , and dated October of 2007 This painting is to be sold with a certificate of authenticity issued by Eight Art Gallery and signed by the artist.

HK$ 120,000 - HK$ 180,000 NT$ 504,000 - NT$ 756,000 US$ 15,500 - US$ 23,200

李繼森 攻佔中國亭 2007 油彩 畫布 180 x 150 cm 簽名右下：李繼森 Li Jisen 2007.10 簽名畫背：《攻佔中國亭》 150 cm x 180 cm 李繼森 2007.10 Li Jisen 附八畫廊開立之藝術家簽名原作保證書

081

ZHANG DALI

(Chinese, b. 1963)

Graffiti Painting 1996 Oil on canvas 149 x 120 cm Signed on reverse Dali in Chinese and English and dated 96.7

HK$ 120,000 - HK$ 180,000 NT$ 504,000 - NT$ 756,000 US$ 15,500 - US$ 23,200

張大力 塗鴉畫 1996 油彩 畫布 149 x 120 cm 簽名畫背：96.7 Dali大力

Ravenel 153

082

GÉRARD GAROUSTE

(French, b. 1946)

Le Défi du Soleil (Project pour Le Jardin du PalaisRoyal) 1984-1985 Bronze, edition of 4/8; 3/8 121 (L) x 46 (W) x 55 (H) cm Engraved on the bottom of the foot Garouste , edition no. 4/8 , inscribed Susse Fondeur Paris Engraved on the bottom of the foot Garouste , edition no. 3/8 , inscribed Susse Fondeur Paris EXHIBITED: Triennale de la Petite Sculpture , Fellbach, Germany, 1986 Skulpturen von Malern , Mannheim Kunstverein, Germany, 1987 Beelden van Schilders , Museum van Bommel, Venlo, Netherlands, 1987 Gérard Garouste , Centre Pompidou, Paris, France; Stedelijk Museum Amsterdam, Netherlands, September 28 – October 27, 1988 Garouste/Garouste & Bonetti , Centre d'Art Contemporain, Meymac, France, 1996 Zeitgenössische Kunst aus Frankreich , Europäischen Zentralbank, Francfort, Germany, 1999 Gérard Garouste Rétrospective 1979-1991 , Galerie Liliane et Michel Durand-Dessert, Paris, France, 2001 ILLUSTRATED: G.G. Lemaire, Gérard Garouste , Paris 1983, color illustrated, no. 26 Gérard Garouste , Centre Pompidou, Paris, France, 1988, black and white illustrated, p. 110 P. Cabanne, Gérard Garouste , Ed. de la Différence, Paris, 1990, color illustrated, p. 107 Gérard Garouste: Les Indiennes , Touko Museum of Contemporary Art, Tokyo Expo, 1990, color illustrated, p. 43 Gérard Garouste oeuvres récentes , expo. cat., Bevédère du Château, Prague, Czech Republic, 1991, color illustrated, p. 39 Gérard Garouste , expo. cat., Museum Moderner Kunst, Vienne, Austria, 1992, color illustrated, p. 39 P. Cabanne, Ed., Gérard Garouste , Expressions Contemporaines, Angers, France, 2000, color illustrated, pp. 94-95

HK$ 130,000 - HK$ 200,000 NT$ 546,000 - NT$ 840,000 US$ 16,800 - US$ 25,800

傑哈．賈胡斯特 太陽王（巴黎皇宮花園計劃） 1984-1985 銅雕 版次 4/8；3/8 121（長）x 46（寬）x 55（高）cm 簽名雕刻足部：Garouste 4/8 Susse Fondeur Paris 簽名雕刻足部：Garouste 3/8 Susse Fondeur Paris 展覽： 「小雕塑三年展」，費爾巴赫，德國，1986 「畫家雕塑」，曼海姆藝術協會，德國，1987 「畫家的照片」，范博梅爾博物館，芬洛，荷蘭， 1987年 「傑哈．賈胡斯特」，龐畢度中心，巴黎；市立博 物館，阿姆斯特丹，展期自1988年9月28日至10月 27日 「賈胡斯特/ 賈胡斯特與伯尼蒂」，當代藝術中 心，梅馬克梅馬克，1996 「法國的當代藝術」，歐洲央行，法蘭克福， 1999 「傑哈．賈胡斯特 1979-1991回顧展」，利利安 與米歇爾．杜蘭德–德瑟畫廊，巴黎，2001 圖錄： G.G 雷馬利，《傑哈．賈胡斯特》，巴黎，1983 彩色圖版，插圖26 《傑哈．賈胡斯特》，龐畢度中心，巴黎；市立博 物館，1988，黑白圖版，頁110 皮耶•卡班，《傑哈．賈胡斯特》，拉迪菲杭斯出 版社，巴黎，1990，頁107 《傑哈．賈胡斯特 – 印地安人》，東京世博會，東 高現代美術館，東京，1990，彩色圖版，頁43 《傑哈．賈胡斯特近作》，麗城城堡，布拉格， 1991，彩色圖版，頁39 《傑哈．賈胡斯特》，現代藝術博物館，維也納， 1992，彩色圖版，頁39 皮耶•卡班，《傑哈．賈胡斯特》，昂熱， 2000，彩色圖版，頁94-95

Ravenel 155

LE DÉFI DU SOLEIL GÉRARD GAROUSTE

Gérard Garouste was born in 1946 in Paris and trained

that is structured; with form that defines individuality

at the École des Beaux-Arts de Paris under Gustave

is Apollonian in character. Apollo as the god of light,

Singier, an abstract painter. In Garouste’s works, there

related to order, logic and self-consciousness. Sculpture

are often references to canonical artists, including

would be the Apollonian form of art for it having the

Giorgio de Chirico, Francis Bacon, Marcel Duchamp, El

shape and structure. On the contrary, Dionysus being

Greco, with a fusion of the surrealism and emotionally

the god of wine, represents drunkenness and ecstasy,

charged expressive scenes. However, he refused to be

g i v i n g u p h i s i n d i v i d u a l i t y a n d r a t i o n a l i t y, m u s i c

categorized as one specific group as he was regarded

becomes the Dionysian type of art. Although both

avant-garde during his time. To reflect on the thoughts

opposing forces are present in Greek tragedy due to

of avant-garde, Garouste was interested in looking at

tensions of the two, one character needs one another

what we are made of and attempted to decipher the

to bring out the personality. Garouste believed they

meanings of symbols and the power it may possess

both coexist in human being, too. In fact, Garouste was

underneath these signs.

diagnosed with bipolar in the 1970s coincidently. The battling of depression against euphoria is a constant

The faces and bodies of his figures are often contorted

struggle for the artist, this ‘madness’ is sometimes

w i t h e m o t i o n a l i n t e n s i t y, s e t a g a i n s t a m o o d y

hinted in certain games he invented, such as Isaïe

background. This is largely due to his early pursuit in

d'Issenheim, where broken body is being attacked by

the fields of theater. Being the most celebrated French

delirium. Similarly, two heros embodying two sides of

painter-sculptor of the 1980s, Garouste held his first

the emotions, tragedy setting against joy is essentially

exhibition at the Durand-Dessert Gallery at the age

the meaning of life.

of 34. After two years later, he received international recognition when his works were shown at the Holly

Originally "Le Défi du Soleil" was a small bronze

Solomon Gallery in New York. Not long after he gained

sculpture intended for the Royal Palace in 1986, nearly

institutional recognition by CAPC of Bordeaux (Centre

twenty-five years later, a monumental bronze sculpture

d'Arts Plastiques Contemporains de Bordeaux) and

of "Le Défi du Soleil" was installed in the park of

Foundation Cartier in 1987. His works are also in the

Saint-Cloud in 2013. When installing the monumental

Collection of Centre Pompidou, Ludwig Museum.

sculpture in Saint Cloud, Garouste redesigned its work by arranging the scene in circular structure of

"Le Classique et l'Indien " (The Class and the Indian)

six meters in diameter. Scattering enigmatic clues

was a theater show written and directed by Garouste in

around the basin, making oneself wonder about the

1977 when he worked as a scenographer. The theme of

work and the likelihood of the rising winner. In the

"Indiennes" first developed in the late 80’s in Garouste’s

current lot, the bronze attributes bearing symbols of

paintings, they were inspired by Genesis, Exodus, the

Greek mythology, representing three persons and

Zohar, or Dante’s Inferno in order to offer a meditation

one animal as follows: Atropos, Thanatos, Clotho and

on the human condition. Since then, Garouste

Cerbère. Garouste developed some sort of a game by

transformed these inspirations into installations.

arranging these attributes differently; it could result in up to thirty-two combinations. In broad terms, Cerbère

Apollo and Dionysian are both sons of Zeus, two

and Thanatos represented death, while Atropos and

characters with opposing natures and appeared in "Le

Clotho symbolized life, again, the arrangement of

Défi du Soleil ". The opposing concepts of Apollonian

their attributes could evoke greater unimaginable

and Dionysian originated from the ancient Greek

possibilities. Garouste is excellent in leaving enigmatic

mythology represent dichotomy. These terms were used

clues in his works; sometimes questioning is the way to

by Nietzsche in The Birth of Tragedy, for everything

discover the truth in life.

Gérard GAROUSTE, Le Défi du Soleil at Domaine de Saint Cloud, 2013 賈胡斯特《太陽王》聖庫路公園 2013年設置

傑哈．賈胡斯特1946年生於巴黎，曾於法國國立巴黎高

波羅和戴奧尼索斯之間存在對立，概念來自於古希臘神話。

等藝術學院接受抽象畫家古斯塔夫•桑齊埃（G u s t a v e

這兩個詞彙曾經被尼采納入《悲劇的誕生》，書中提到，所

Singier）指導。在賈胡斯特的作品中，經常可見藝術大家的

有具有結構和個體性的，都屬於阿波羅元素。阿波羅是光明

影響，包括喬治•德•基里訶（Giorgio de Chirico）、法

之神，代表秩序、邏輯和自我意識。因此，具有形狀和結構

蘭西斯•培根（Francis Bacon）、馬塞爾•杜象（Marcel

的雕刻，是阿波羅的藝術形式。相反的，戴奧尼索斯是酒

Duchamp）、埃爾•葛雷柯（El Greco）等大師，都是賈

神，代表酒醉和熱烈的激情，放棄個體性和理性，所以音樂

胡斯特取材的對象。他將超現實主義和充滿情感的表現場景

是戴奧尼索斯的藝術形式。雖然阿波羅和戴奧尼索斯在希臘

融為一體，成為當代的前衛藝術家，但他拒絕因此歸類在特

悲劇中，屬於兩種緊張而對立的力量，但是唯有兩者同時並

定的創作族群。賈胡斯特的前衛思想，顯在他有意探索人類

存，才能引出另一方的獨有個性。1970年代，賈胡斯特意

的組成，試圖譯解象徵符號，以及符號背後的潛在能量。

外確診患有躁鬱症。憂愁和安逸，成為藝術家永遠的拉鋸， 而這樣的「瘋狂」狀態也隱含於某些創作中。例如，在《伊

賈胡斯特的作品中，人物的臉部和身體經常因為富有強烈的

瑟南的以賽亞》（Isaïe d'Issenheim）中，斷臂殘肢所承受

情感而扭曲變形，背景也散發沈鬱的氛圍。主要是因為，

的攻擊，正是來自於狂亂的精神狀態。此外，阿波羅和戴奧

早期賈胡斯特曾涉略舞台劇藝術。賈胡斯特是1980年代最

尼索斯也代表兩種不同的情緒，而人生的意義，正是在於悲

知名的法國畫家與雕刻家，他三十四歲的時候，在杜蘭德–

劇和喜悅之間的互相抗衡。

德瑟畫廊（Durand-Dessert Gallery）舉辦生涯首場個人展 覽，兩年後就在紐約的霍利•所羅門畫廊（Holly Solomon

最初，《太陽王》是1986年為巴黎皇宮花園打造的小型銅

G a l l e r y）展出作品，備受國際肯定。隨後，他更在1987年

雕。2013年，歷經二十五年後，才在聖庫路公園（S a i n t-

獲頒波爾多當代造型藝術中心與卡地亞當代藝術基金會的獎

C l o u d）設置《太陽王》的大型銅雕。設置大型銅雕的時

項，獲得體制內的藝術機構肯定。他的作品收藏於法國的梅

候，賈胡斯特重新設計，將場景布置成直徑六公尺的圓型結

茲現代藝術中心與德國的路德維希博物館。

構，底台四周點綴著神祕難解的符號，引人深思作品隱含 的意義，而兩位主角之間，最後的勝出者又會是誰。這件銅

1977年賈胡斯特在劇場擔任舞台美學指導時，親自編撰並

雕充滿希臘神話的符號，分別代表三個人物與一個動物，即

指導《經典與印度》（Le Classique et l'Indien） 一劇。

命運三女神中的愛特拉玻絲和克洛若、死亡之神桑納托斯、

「 印 度 人 」 這 個 主 題 ， 首 先 見 於 他 在1 9 8 0 年 代 晚 期 的 畫

惡犬塞爾伯洛斯。這些符號安排總共可以結合出三十二種組

作，靈感來自《創世紀》、《出埃及記》、《光明篇》和但

合。透過重新安排，賈胡斯特在作品中創造出某種意趣。從

丁的《神曲：地獄篇》，主要宗旨在於深思人類的處境。自

廣義來看，塞爾伯洛斯和桑納托斯代表死亡，而愛特拉玻絲

那時起，賈胡斯特便開始將從這些巨作得來的靈感轉移到裝

和克洛若象徵生命。在這樣的安排下，這些符號所代表的屬

置藝術上。《太陽王》塑像以宙斯的兩個兒子──阿波羅和

性，可以激發出更多超乎想像的可能性。賈胡斯特擅長在作

戴奧尼索斯為主角，這是兩個在本性上互相對立的角色。阿

品中留下高深莫測的線索，有時心中存疑才是能帶領人發掘 出生命的真相的方式。

Ravenel 157

083

PIERRE-YVES TRÉMOIS (French, b. 1921)

Le Turbot Aberrant 1977 Polished bronze, edition no. 7/8 62 (L) x 13 (W) x 47 (H) cm Engraved on the bottom Trémois in French, inscribed Nous sommes tous fondus ensemble Darwin in French, numbered 7/8 and dated 1977 ILLUSTRATED: Trémois d’un trait, Éditions Michèle Trinckvel , Paris, 1982, color illustrated, pp. 172-173; black and white illustrated, p. 174 This sculpture is to be sold with a certificate of authenticity signed by the artist.

HK$ 260,000 - HK$ 400,000 NT$ 1,092,000 - NT$ 1,681,000 US$ 33,500 - US$ 51,500

皮 耶 –伊 夫 ． 特 墨 黃金多寶魚 1977 拋光銅雕 版次7/8 62（長）x 13（寬）x 47（高）cm 簽名雕刻底部：Trémois 1977 7/8 Nous sommes tous fondus ensemble Darwin 圖錄： 《線條之特墨》，米歇．坦克維爾出版社，巴黎， 1982，彩色圖版，頁172-173；黑白圖版，頁174 附藝術家親筆簽名之原作保證書

084

PIERRE-YVES TRÉMOIS

(French, b. 1921)

Le Bison Genèse 1977 Polished bronze, edition no. 6/8 72 (L) x 12 (W) x 53 (H) cm

皮 耶 –伊 夫 ． 特 墨 金牛創世紀

Engraved on the bottom Trémois in French, inscribed Nous sommes tous fondus ensemble Darwin in French, numbered 6/8

1977 拋光銅雕 版次6/8 72（長）x 12（寬）x 53（高）cm

EXHIBITED: Galerie Attali, Paris, 1977

簽名雕刻底部：Trémois 6/8 Nous sommes tous fondus ensemble Darwin

ILLUSTRATED: Trémois d’un trait, Éditions Michèle Trinckvel , Paris, 1982, black and white illustrated, p.175; color illustrated, pp. 176-177

展覽： 亞特麗畫廊，巴黎，1977

This sculpture is to be sold with a certificate of authenticity signed by the artist.

HK$ 260,000 - HK$ 400,000 NT$ 1,092,000 - NT$ 1,681,000 US$ 33,500 - US$ 51,500

圖錄： 《線條之特墨》，米歇．坦克維爾出版社，巴 黎，1982，黑白圖版，頁175，彩色圖版，頁 176-177 附藝術家親筆簽名之原作保證書

Ravenel 159

Pierre-Yves Trémois was born in Paris in 1921; a truly talented

depicting two-dimensional human erotica scenes on the surface of

artist devoted his life to art in the fields of sculptures, paintings,

the three-dimensional animal-shaped sculptures, enlightening the

ceramics, and jewelry that possessed high level of creativity. Trémois

viewers to explore a greater possibilities of the two. To Trémois,

graduated from the Academie des Beaux-Arts in Paris, and at age

these bronze sculptures represented the fusion of mankind and

of 21, Trémois made the debut of his first lithographs exhibition,

animals, the volume and lines are constantly merging and changing.

later in same year he was awarded with the Prix de Rome. In

Trémois incorporated the ancient characters, symbols and literatures

1948, Trémois received the Prix de la Casa Velasquez award, and

found in traditional technique of stereotypy specifically to France

was honored to participate in the making of illustrations for the

onto his sculptures.

publications of several renowned artists such as Bernard Buffet, Salvador Dali, Léonard Tsuguharo Foujita and many more.

Trémois thinks that gold is expensive and useless; yet, it would be a perfect material for art creation. Meanwhile, Trémois is deeply

Trémois is passionate in the fields of Biology, Astrology, Poetry

interested in Oriental cultures, and has a personal collection of many

and classical literatures; he is in favor for the use of decisive lines

Asian arts and Japanese antiquities. In 1977, Trémois received a

and pure black and white colors in depicting silhouettes of the

commission request from the Parisian council to create a work that

subject-matter, this is in contrasts with the free flow of imagination

is weighed three tonnes, with length of eight meters for the Metro

as exhibited in his works, Trémois particularly employed Charles

station of "Châtelet-Les Halles" in Paris named "Energies". The

Darwin’s "Theory of Evolution" as his source of inspirations; the

technique and content in "Energies" act as the prelude to his other

"Theory of Evolution" acclaimed that all the complicated species

18 bronze sculptures made in the Susse Foundary in Paris that same

have evolved from simple life forms. Trémois focused his subject

year. In terms of technicality, not only did Trémois incorporated

on animals, Apes, human lust, creatures of the universe,

symbols of Darwin’s "Theory of Evolution", moreover, his admiration

together, Trémois questioned the origin of the universe by weaving two opposing sides on one piece of work, where conflicts is joined with harmony. For instance, Trémois skillfully engraves fine lines onto uneven harden metalwork;

of painter Dürer’s broad knowledge in perspective drawing, anatomy, copper-engraving have reflected upon the two works of "Le Bison Genèse" and " L e Tu r b o t Aberrant".

Lot 084 Alternative view 另一角度

Both of the works of "Le Bison Genèse" and "Le Turbot

特墨認為黃金昂貴且無用，是作為藝術創作的極好材料。同時，特

Aberrant" could be part of the 300 works, besides part of

墨本身也對東方文化保有興趣，甚至存有許多日本文物及亞洲藏品

Trémois’ personal collections, that Trémois planned to donate

作為私藏。1977年特墨巴黎獲邀為巴黎地鐵中心「夏特列廣場」

to the founding of Trémois and Museum of Asian Art back

站製作重達3噸、長達8米的大型銅雕《能量》，此件作品的創作手

in the 1990, nonetheless, the government of Nice failed to

法與內容為同年特墨於巴黎蘇斯鑄造廠所製作一共18件銅製作品揭

incorporate Trémois as part the establishment, and as a result

開序幕。其創作手法不僅將他欣賞的達而文「進化論」刻劃在作品

his personal collections are currently in the collection of Guimet

上，同時也表現了對於畫家杜勒敬仰，因杜勒有著豐富的廣博知識

Museum in Paris and Fiji Art Museum in Tokyo. However,

如透視學、解剖學、銅版畫等等，都顯於《金牛創世紀》與《黃金

there is no doubt that Trémois has left many of the unsolved

多寶魚》這兩件作品之中。

mysteries and secret coding in both of these works. Horseshoe Crab is one of the mysterious creatures presented in Trémois’

《金牛創世紀》與《黃金多寶魚》這兩件作品本有可能藏於1990年

works, its entire body is protected with a hard carapace, two

特墨積極參與規劃興建的特墨與亞洲博物館，當年特墨計畫貢獻部

primary compound eyes and a pair of median eyes that can

分私人收藏及近300件作品於館藏，然而，最後尼斯市政府僅保留

detect both visible light and ultraviolet light, and one pointy

了亞洲的區塊，未能有幸替特墨保留一席之地，而他的私人收藏便

long tail that is dated to 450 million years ago, it is considered a

轉由巴黎居美東方博物館及日本東京富士美術館收藏。然而，無論

living fossil in which it has hardly changed its appearance since

是在《金牛創世紀》或《黃金多寶魚》中，特墨都留下了引人探索

then. Seeing a developing embryo moving towards women

的密碼。有著活化石之稱的鱟（音同「厚」，又稱馬蹄蟹）便是其

overlapping one another, or a man and a woman engaged in

中一個神祕物種，全身以甲殼包覆，共有五對附肢、一對複眼一對

intimate act have shed the light on nature’s breeding process

感光單眼、一根長而尖的尾柱，是一種4.9億年前問世至今依然保

and constant changes of the universe, they exemplified

持原貌的原生物種。從仍在孕育中尚未孵化完成的胚胎，再到畫面

Trémois’ eagerness in continuous exploration of the universe,

中重疊的女子或是男女情慾中所透露出的生命的繁衍及演變，都一

scientific studies and academics.

再的體現了特墨對於生命探索、科學研究、學術專研好學的精神。

皮耶–伊夫．特墨1921年生於巴黎，是一位富有才華的藝術家、其 雕塑、繪畫、陶瓷、金飾等作品都深具創造力。特墨畢業於巴黎國 立高等藝術學院，21歲那年舉辦了首次的版畫個展，同年更榮獲羅 馬大獎，1948年獲得西班牙馬德里維拉斯蓋茲獎項，並且替許多 享有重要藝術地位的藝術家如畢費、達利、藤田嗣治等人製 作啟示錄版畫集。 特墨不僅對於生物學、天文學、詩詞、古典文學都 持有熱誠，他喜愛以果斷的線條極和簡捷的色調 （多黑與白）勾勒出畫面中的主體，與畫面中自 由奔放的畫面形成對比，其特別喜以達爾文著名 的「進化論」為創作的靈感來源，「進化論」 相信當今各種複雜的萬物皆由最基本的簡單 生物演化而成。特墨將畫面主體圍繞在人 猿、動物、情愛與創物者之間，便是利用對 立的兩方進而探討生命萬物的起源，有衝 突亦有融合，特墨將細膩線條刻劃在堅硬 質地的金屬上、將人類情慾以平面圖像繪於 立體動物雕塑之上，引領觀者思考其兩者之 間的關係。對特墨而言，這些銅雕刻畫了人體 與動物之間，體積與線條之間的融合聚變，並 且運用法國特有的鉛版印刷術之歷史字體，將其 字母、文字方式呈現於雕塑作品之中。

Lot 083 Alternative view 另一角度

Ravenel 161

HORIZON GEORGIA RUSSELL

Georgia was born in Eglin, Scotland, currently lives and works in

while solids add structures and monumentality to the work. In

Paris. Russell graduated with 1st Class Honor from University of

"Horizon", solid curve lines overlapped each other and created

Aberdeen in 1997 in Fine Arts. Georgia Russell is known for her use

voids, as abstract as it may be, voids became sparkling reflections

of scalpel on works where she slashed, cut and dissected flatten

of sunlight, then turned into a pack of sardine, or fish-like creatures

printed materials, such as that of photographs, old book, music

amid sea waves. The fascination of Russell’s work lies in its mobility

sheets, etc., and transform them into unfurling sculptural objects

and energy that flows throughout her work, where the integration

giving them a new form of life and representation.

of solids and voids creates a sprung up three-dimensional space in a flatten work.

The use of scalpel allows Russell to sliced open the paper and left with lacerated volume works of art, sometimes ended up with

喬治亞•盧瑟爾出生於蘇格蘭埃爾金，目前居住在巴黎，並以巴黎作為

flamboyant colors and feather-like features on the sculptural piece.

創作基地。盧瑟爾在1997年以全班第一名的榮譽身分從亞伯丁大學畢

The idea of cutting books apart was born during her stay in Paris,

業，並取得藝術學位。她的創作特色在於使用解剖刀，將列印出來的平

when she saw stacks of books piled up as if dead or unloved, for

面素材（例如照片、舊書、樂譜等），利用削、切、剖等技法，改造成

Russell, these books are already situated like sculptures, touched

向外展開式的雕刻作品，重新詮釋原本的素材，並為其賦予新的生命。

and admired with the looks of passerby, passed on to one another over time. For Russell, the cut-out interlacing accompanied

盧瑟爾用解剖刀劃開紙張，留下撕裂狀的藝術作品，有時會再加上豔麗

with their shadows functions as ‘membranes of memories’. The

的色彩，讓成品具有羽的特徵。將書本切開的概念來自於她在巴黎的經

recollection of memories could easily be triggered by a breeze or

驗。當時，她看見成堆的書本擺在一邊，彷彿沒了生命，又彷彿失去了

shine of a sunlight. What is the meaning of a book, or a map when

愛。對她而言，這些書本就像雕刻作品，路人的注視，就像人們對雕像

it has been emptied of its content and removed its legibility? This

的撫觸與讚美，隨著時間流逝，這些書經過一個又一個人的手中。盧瑟

re-contextualization of the material allowed viewers to question

爾認為，交錯的切割處，以及伴隨一旁的影子，如同「記憶的薄膜」。

the status quo, its innate root, and at the same time, mind wonders

一陣微風的吹拂，或一道陽光灑落，都可以輕易喚起一段回憶。當一本

freely and boundlessly beyond the framework.

書或一張地圖的內容被清空，可辨識的符號也移除後，它們剩下的意義 是什麼？重建素材的脈絡，促使觀者重新思考現狀、質疑作品的根源，

This current lot, "Horizon", is constructed with cuts on layers

同時跳脫框架，讓心自由自在、漫無邊際的隨思隨想。

of Kozo papers interwoven together, in which the paper is characterized for being strong and absorbent. The choice of

《海平面》由一疊切割過的楮紙（桑紙）交織而成。楮紙的特色是強

this specific paper coincidently represents the nature of the sea.

韌、有吸收力。選擇楮紙做為素材，也碰巧與海洋的特性所穩合。海平

The incisions on the seascape reflected movement of waves and

面上刻劃出波浪紋，突顯出隨即而來的海風。作品本身沒有中心點，但

highlighted possible wind change of the nature. There is no centre

隨著波紋的輪廓將觀者的視線導引到中央的海平面。海浪的漣漪效果一

point, yet the contour of ripple effect directed the eyes of views to

路延伸到外圍，彷彿生機蓬勃的植物一般，滋養著各種形式的新生命。

the middle meeting point of sea horizon. As the spreading effect

這幅作品乍看是平面的海洋，卻能從不同的觀看角度欣賞，無論是從海

moves towards the outer circle, the curves have resemblance of

平面上或海平面下，亦可平行直視，想從各個角度看都可以。這幅作品

vegetation, nurturing new forms of lives. Although it seems to be

的多重視角，就如水能夠孕育各種生命一樣，如此多元。

a two-dimensional representation of the sea, this picture can be viewed from different perspectives, above and beneath the sea, or

喬治亞•盧瑟爾刻意操弄「虛」和「實」的概念，這樣的技法經常見

horizontally, depending on the perspective you wish to view from.

於傳統中國風景畫中。一定程度的「虛」可以製造空間和輕盈感，而

The multi-perspective visualization of this work is as diverse as the

「實」可以為作品增添結構和重量。在《海平面》中，屬於「實」的波

water is able to nurture life.

浪線條互相交疊，營造出抽象的「虛」，化作浪上閃爍倒映的陽光，又 變成一群海裡的沙丁魚，或是浪中穿梭的生物，彷彿是魚，又彷彿不

Georgia Russell deliberately play with the concept of solids and

是。盧瑟爾的作品具有一種魅力，在於作品的變動性和流動於其中的能

voids, which are often seen in Chinese traditional landscape

量。「虛」和「實」在她的作品中交會，使平面的作品也能生出立體的

painting. A certain amount of voids creates space and lighting,

空間感。

085

GEORGIA RUSSELL

(Scottish, b. 1974)

Horizon 2012 Cut prints on Kozo paper, plexiglas 100 (L) x 135 (W) x 16 (H) cm Signed on the reverse Gerorgia Russell and dated 12 ILLUSTRATED: Georgia Russel, Galerie Karsten Greve, St. Moritz – Paris Cologne, 2015, color illustrated, pp. 130-131

HK$ 240,000 - HK$ 360,000 NT$ 1,008,000 - NT$ 1,513,000 US$ 30,900 - US$ 46,400

喬琪亞．盧瑟爾 海平面 2012 剪楮紙 壓克力盒 100（長）x 135（寬）x 16（高）cm 簽名畫背：Georgia Russell 12 圖錄： 《喬琪亞•盧瑟爾》，Karsten Greve畫廊，聖模里 茲、巴黎、科隆，2015，彩色圖版，頁130-131

Ravenel 163

French artist Paul Aïzpiri is known for his use of brilliant, vibrant color.

His inherent optimism and acute color sensation have empowered him to create countless works of renown over the course of his long artistic career. Unlike the profound contemplation and introspection often found in the works of Nordic artists, what Aïzpiri’s works reveal are his appreciation of and exaltation in the beauty of life.

His recent works gravitate toward motifs of children, bicycles, airplanes, birds, fish and the sun. Manifestly, a new artistic style is coming into being as the artist’s mind flies and frolics gleefully over the skies of Paris, Saint-Tropez and Venice. The world of dreams extends into infinity and is saturated with the artist’s playful imagination. In a world interwoven with the brightness of color, we are gently embraced by the warmth of sunshine, surrounded and permeated by the artist’s great passion for nature and love for his family.

Created in the 1960s, "Musicien" is the perfect embodiment of the artist’s powerful individual style. The rich composition is filled with bright, vivid colors. The cello at the center acts as the visual divide, on either side of which two Jazz musicians improvise upon the street, their figures attaining a happy balance upon the canvas. The impasto technique is employed upon the musicians’ clothing and also achieves perfect symmetry in terms of color and thickness. The functionality of lines as elements of composition is weakened as blocks of color naturally delineate object contours. The garden railings on the left and street lights on the right sides of the canvas occupy the remaining space and enrich overall impressions, creating an artwork of exquisite detail and intense decoration. Aizpiri’s passion for nature and families

are evident in his artworks. The bold brushstrokes and the bright colored palette he brandishes in his vibrant figurative paintings are symbolic of his joy and satisfaction in life. His recent works are painted poetry filled with a glow of love with such motifs as children, bicycles, airplanes, birds, fish and the sun, flying over the skies of Paris, Saint Tropez and Venice . 法國藝術家艾斯比利以其明快鮮豔的色彩著稱，與生俱來的樂觀性格與敏 銳的色彩感，在多年的藝術實踐中創作佳作無數。不同與北歐藝術家的深 沉與反思，艾斯比利的作品中更多的是對美好生活的體驗和讚美。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。 近來作品的主題較多地傾向於兒童、自行車、飛機、鳥、魚、太陽等等， 新的畫風正在形成，它表現為在巴黎、聖特羅佩以及威尼斯的上空自由地 輕舞嬉戲；夢的世界向寬廣處延伸，其中充滿了畫家內心的愉悅想像。在 由鮮豔的色彩所交織而成的艾斯比利的世界裡,我們被陽光滿溢的溫暖柔 和地包裹其中，真實地感受到畫家對自然和家人的一顆無比熱愛的心。作 於1960年代的作品《爵士表演》帶有藝術家強烈的個人風格。畫面構圖豐 滿，色彩鮮明。兩位元爵士音樂家在街頭即興表演，畫面中心的大提琴分 割畫面，兩位元音樂人平衡地佔據左右畫幅。兩位音樂人的衣著部分的描 繪以塊面，厚塗的顏料左右對應，均衡畫面。而線條在構圖中的作用被弱 化，色塊的組合自然地勾勒出物件的形體。左側的花園欄杆，與右側的街 燈填補畫面空白，使得畫面豐富，細節豐滿，裝飾感極強。

086

PAUL AÏZPIRI

(French, 1919 - 2016)

Musicien c. 1960 Oil on canvas 54 x 65 cm Signed lower right AïzPiRi in French

HK$ 200,000 - HK$ 300,000 NT$ 840,000 - NT$ 1,261,000 US$ 25,800 - US$ 38,700

保羅．艾斯比利 爵士表演 約1960 油彩 畫布 54 x 65 cm 簽名右下：AïzPiRi

Ravenel 165

087

BERNARD CATHELIN (French, 1919 - 2004)

Katherine–Casque d'Or 1997 Oil on canvas 90.5 x 58.5 cm Signed lower left Cathelin and dated 97 Signed on the reverse Cathelin , titled "KatherineCasque d'Or" , and dated ETE1997 PROVENANCE: Kwai Fung Hin Art Gallery, Hong Kong Private collection, Asia

Bernard Cathelin painterly approach adopted and inherited the spirit of the French Les Nabis, a group of Post-Impressionist avantgarde artists who set the pace for fine arts during the 1890s in

HK$ 260,000 - HK$ 400,000 NT$ 1,092,000 - NT$ 1,681,000 US$ 33,500 - US$ 51,500

France. "Katherine–Casque d'Or" encompasses broad brush strokes and a warm colour palette of sweet melodious harmony and and artistic charm. "Katherine–Casque d'Or" exhibits to one of Bernard Cathelin's beloved subject matter of portraitures. The red-orangey short haired Katherine is accessorized with a pair of

貝爾納．卡多蘭 凱薩琳 – 金盔

golden circular loop earrings extenuating her long slender neck, further adorned with a golden necklace as her icy blue eyes gazes calmly into the distant, against a soft warm palette that gives off

1997 油彩 畫布 90.5 x 58.5 cm

a halo glow outlining the exterior of Katherine's slender graceful

簽名左下：Cathelin 97 簽名畫背："Katherine-Casque d'Or" ETE 1997 Cathelin

among artists such as Maurice Brianchon and Henri Matisse. His

來源： 季豐軒畫廊，香港 私人收藏，亞洲

body. In retrospect, Bernard Katherine maintained a deep-rooted love for his country and particularly for the Drôme. The artist studied magnificent painting rendered primarily using brushes and palette knives with oil on canvas filled with rich colours and textures to honour his poetic subjects as he travelled extensively around the world in search of inspirations for his artistic productions. In 1997, the Musée de Valence dedicated a retrospective of the artist’s work.

The Shanghai Art Museum in China had organized a retrospective exhibition presenting 40 years of Bernard Cathelin's works in 2000. 貝爾納．卡多蘭的繪畫技法承襲法國納比派的繪畫精神。納比派是一群 前衛的後印象主義藝術家，他們為1890年代的法國藝壇樹立了一套標 準。《凱薩琳–金盔》以粗獷的筆觸勾勒而出，運用暖系色調，散發出 如同樂曲一般令人愉悅的和諧感受和藝術魅力，展現貝爾納 卡多蘭在 創作人物像時最喜歡描繪的題材。畫中，凱薩琳擁有一頭橘紅色的短 髮，耳朵上戴著兩串金色的圓形耳環，突顯纖長的頸部，而頸部也戴 了一條金色的項鍊。她用一雙湛藍的眸子，靜靜的凝望遠方。背景搭 配暖和的色調，暈著光，映襯凱薩琳纖細優雅的體態。貝爾納．卡多 蘭一生熱愛國家，尤其是德龍省。他曾經和莫利斯•比安宋（M a u r i c e Brianchon）、亨利．馬蒂斯（Henri Matisse）一起學習藝術。1945 年 考進巴黎國立裝飾美術大學即得到波納爾入室弟子布立翁頌親自指導， 在入學二年後更通過教師鑑定考試，任教於母校預科班教授美學長達 6 年。他主要使用畫筆和畫刀，在帆布上創作大型油畫，運用豐富的色彩 和紋理，重現他在尋找藝術靈感時曾經造訪過的地方，向世界各地的美 景致上敬意。1997年，法國的瓦朗斯博物館（Musée de Valence）為 他舉辦回顧展。中國的上海美術館也在2000年籌辦了一場貝爾納．卡多 蘭的四十年回顧展。

Ravenel 167

088

MARC CHAGALL

(Russian-French, 1887 - 1985)

La corbeille de fleurs c. 1970 India ink and pen on paper 23.5 x 31.1 cm Signed lower right Marc Chagall

"La corbeille de fleurs" encompasses the dreamlike vibrancy

PROVENANCE: The artist's estate (no. D2271E).

Galerie Malingue, Paris Christie's London, 2013

Evian bottle of magnificent pictorial effect. The profile of a face

of a blossoming basket of flowers next to a tea cup and an appears behind the central floral basket, subtly hints at a sense of perspective and dimensionality. Art critic Rober Hughes referred Chagall as "the quintessential Jewish artist of the twentieth century" As a pioneer in modernism, the artist lived

HK$ 320,000 - HK$ 480,000 NT$ 1,345,000 - NT$ 2,017,000 US$ 41,200 - US$ 61,900

and experienced the golden age of modernism's in Paris, he successfully synthesized the art forms of Cubism, Fauvism and Symbolism into his own unique artistic approach. In retrospect, Marc Chagall was born in Belarus and left Russia for Paris in 1907. The outbreak of WWI trapped Chagall in Russia but he

馬克．夏卡爾 花籃

subsequently returned to France in 1923 but was yet again forced to flee the country during WWII. Finding asylum in the United States, Chagall became involved in set and costume

約1970年 墨 紙本 23.5 x 31.1 cm

design before returning to France in 1948. Chagall subsequently

簽名右下：MArC ChAgAll

art of stained glass windows. The artist was commissioned to

來源： 藝術家遺產（No. D2271E） 馬凌畫廊，巴黎 佳士得拍賣，倫敦，2013

diversified his artistic oeuvre and worked with medium such as illustration, sculpture, ceramics, stage sets tapestries and the produce numerous large-scale works around the world, among them are the stained glass windows for the synagogue at the Hadassah Hebrew University Medical Center in Jerusalem in 1961 and the All Saint’s Church in Mainz, Germany, the ceiling of the Paris Opéra and murals for the New York Metropolitan Opera in 1964. In 1977 Chagall received France’s highest accolade, the Grand Medal of the Legion of Honor. That same year, Marc Chagall became one of the few distinguished artists to receive a retrospective exhibition at the Louvre. 《花籃》描繪一籃盛開的花，生動鮮明，如夢似幻，旁邊擺著一杯茶 和一瓶E v i a n礦泉水，以插畫的效果呈現。中央的花籃後方，可以看 見人臉的輪廓，隱約顯示出畫作的視角與空間感。藝術評論家羅伯 特．休斯（Robert Hughes）形容夏卡爾是「典型的二十世紀猶太藝 術家」。他是現代主義的先驅，經歷巴黎現代主義藝術的黃金時期， 成功將立體派、野獸派和象徵主義揉合在他個人獨特的繪畫技法中。 夏卡爾出生白俄羅斯。1907年，離開俄羅斯，前往巴黎。第一次世 界大戰爆發時，他被困在俄羅斯，在1923年回到法國。第二次世界 大戰期間，他被迫逃離法國。在美國尋求庇護的期間，他從事舞台與 舞台服裝設計，一直到1948年才回到法國。這時，夏卡爾開始嘗試 不同的藝術創作模式，運用的媒材包括插畫、雕塑、製陶、舞台織品 設計、彩繪玻璃窗。他曾為許多世界各地的建築創作大型藝術品，包 括 1961 年耶路撒冷郝得塞希伯來大學醫學中心（Hadassah-Hebrew University Medical Center）猶太教堂的彩繪玻璃窗，以及1964年巴 黎劇院天花板壁畫和紐約大都會歌劇院的壁畫。1977年，夏卡爾獲 頒象徵法國最高榮譽的大十字榮譽勳章。同年，羅浮宮為他舉辦回顧 展，這是少數傑出的藝術家才能享有的殊榮。

Ravenel 169

089

ANDRÉ MASSON

(French, 1896 - 1987)

Entre l'eau et le feu 1969 Pastel, ink and felt-tip pen on paper 33 x 24.5 cm Titled on the reverse entre l'eau et le feu in French, inscribed TA358 and dated 1969 With one reference number of TA-AM 358 and stamp of Comité André Masson on the lower right PROVENANCE: Lin & Keng Gallery, Taipei Acquired from the above by the present owner in 1995 EXHIBITED: André Masson , Lin & Keng Gallery, Taipei, February 18 – March 7, 1995 ILLUSTRATED: André Masson, Lin & Keng Gallery, Taipei, 1995, color illustrated, plate no. 14 This painting is sold with a certificate of authenticity signed by the son of the artist, Diego Masson.

HK$ 44,000 - HK$ 65,000 NT$ 185,000 - NT$ 273,000 US$ 5,700 - US$ 8,400

安德烈．馬松 水與火之間 1969 粉彩 墨 彩色絨嘴筆 紙本 33 x 24.5 cm 題識畫背：entre l'eau et le feu 1969 TA358 鈐印右下：TA-AM 358安德烈．馬松 委員會編號 來源： 大未來畫廊，台北 現有收藏者1995年購自上述來源 展覽： 「安德烈．馬松」，大未來畫廊，台北，展期自1995年2月18 日至3月18日 圖錄： 《安德烈．馬松》，大未來畫廊，台北，彩色圖版，圖14 附藝術家之子迪亞哥．馬松親筆簽名之原作保證書

Ravenel 171

CIRCULO CON RELIEVE ANTONI TÀPIES

Spanish painter, sculptor and art theorist Antoni Tàpies was

gray to paint. One reason is my own self-reflection upon the

one of t he mo st o utstandi ng Spani sh arti sts of th e 2 0 th

frequent use of primary colors in my previous works. In fact, the

century. A self-taught artist, he was the creator of a unique,

commercials and signs present in our everyday lives also prompt

unparalleled style that is exceptional even among the many

me to seek out the colors that better allow us to fully express

stylistic innovations of 20th century Avant-Garde art. He did

our inner worlds. I seek a source of radiance that illuminates

not forego traditional approaches, but at the same time was

our hearts and dreams within the dim environment in which

courageous enough to forge innovations in abstract art and

we exist. In my works, there appears to be a pursuit of colors

incorporate elements of symbolism, thereby imbuing his

often associated with joy and delight such as red and yellow.

artworks with abundant meaning. The spiritual significance of

For me, however, grays and browns are better suited to the

his work is particularly worthy of mention. The artist conveys his

communication of the voices deep inside my heart. These colors

intrinsic thoughts and meditations through the use of external

are very much in close proximity to the world of philosophy. "

materials, thereby transforming art into the profound analysis of humanity. Highly commended by those within the artistic circle,

西班牙畫家、雕塑家、藝術理論家安東尼．塔皮埃斯，是二十世紀

Tàpies’ works are now housed and collected by many renowned

最傑出的西班牙藝術家之一。他自學成才，在二十世紀先鋒藝術裡

museums around the world. Tàpies’ early works convey visible

創造了獨一無二的藝術風格。他不但沒有摒棄傳統，反而勇於創新

traces of a surrealist style. During his residence in Paris, his

抽象藝術，結合符號象徵主義，賦予作品豐富含義。值得一提的是

creative approach began to transit towards the non-formalist.

作品中的精神意義，通過材料傳達了藝術家的所思所想，昇華為對

This is exemplified by his employment of ropes, paper, marble

人性的深入分析。塔皮埃斯的作品得到了藝術界的高度肯定，被許

dust and other recycled or discarded materials in his works.

多世界知名的博物館收藏。塔皮埃斯早期的作品帶有明顯的超現實 主義風格痕跡。在巴黎生活期間，他的作品風格開始向非形式主義

In the 1970s, Tàpies began to supplement his art with more

過渡：他將繩子、紙、大理石灰等回收或廢棄的材料加入到其作品

political elements in his attempt to protest Franco’s autocratic

中。1970年代，塔皮埃斯在作品中加入了更多政治元素，發出了抵

regime and enunciate the Catalonian desire for freedom and

抗佛朗哥專制政權，爭取加泰隆尼亞民族權力的吶喊。他經常通過

power. He often expressed his protests by adding symbols such

加入如加泰隆尼亞區旗上的四道紅白相間條紋等符號或字母的方式

as the estelada, the flag of Catalonia, with its four stripes of

來表達抗爭思想。

red upon a yellow backdrop, or letters of the alphabet, all of which signify his will of resistance. The most notable feature of

塔皮埃斯作品中最顯著的特點當屬運用多種混合材料製造出牆壁的

Tàpies’ work is a wall-like concrete heaviness created through

堅固厚重感，並在其中融入其他元素，比如在粗糙表面上進行塗鴉

the mixture of multiple materials. He blended other elements

般的繪畫。他作品的另一大特點就是大量符號的運用，如十字架，

into these heavy, weighted layers, such as the embellishing of

月亮，星號，字母，數位，幾何圖形等。對於塔皮埃斯來說，這些

graffiti-like images upon the rough, unadulterated surfaces. He

帶有寓意的元素反映了藝術家的內心世界，生命、死亡、孤獨、隔

also made extensive use of symbols, such as the cross, moon,

閡、性等出現在他的作品中，每個符號都具有具體的意義。他的顏

stars, alphabets, digits, and geometrical shapes. For Tàpies,

色一般都很單一，以冷色調或者大地色為主，如赭色，棕色，灰

these symbolic elements reflect the substance of his intrinsic

色，黑色等。對此，塔皮埃斯解釋道：「在創作時，有時我只用灰

world: life, death, solitude, separation, sex, and more. In his

色作畫，一部分源自對於我之前作品中運用大量原色的反思。事實

works, each of these symbols carries unique, specific meaning.

上，我們生活中的廣告和標識也促使我尋找一種更能表達內心世界 的顏色，一種被認為是在昏暗環境中照亮我們內心和夢想的光芒。

Tàpies preferred unitary tones, such as sienna, brown, gray, black

在我的作品中，有一種尋找所謂令人愉悅的顏色的趨勢，如：紅

and other earthy or cool-toned colors. In response to questions

色，黃色，但對於我來說，灰色和棕色更加能表達內心的聲音，它

of color, the Spanish painter explained, “Sometimes I only use

們與哲學世界有著十分密切的關聯性。」

090

ANTONI TÀPIES (Spanish, 1923 - 2012)

Circulo con relieve 1979 Wax seal on paper in relief 28 x 38 cm With two seals of the artist PROVENANCE: Galeria Maeght, Barcelona Galleria San Carlo, Milan EXHIBITED: Tàpies. Peintures 1965-1980, Galerie Adrien Maeght, Paris, 1985 ILLUSTRATED: Tàpies, obre complete , Vol. IV , Polìgrafa, Barcelona, 1995, black-and-white illustrated, no. 3617, p. 242 This painting is to be sold with a certificate of authenticity issued by Gaspar, Barcelona.

安東尼．塔皮埃斯 圓浮雕 1979 紙上 蠟封 圓浮雕 28 x 38 cm 藝術家鈐印兩枚 來源： 梅格畫廊，巴塞隆納 聖卡羅畫廊，米蘭 展覽： 「塔皮埃斯繪畫1965-1980」，亞德里安．梅格畫 廊，巴黎，1985 圖錄： 《塔皮埃斯作品全集第四卷》，波利格拉法出版社， 巴塞隆納，1995年，黑白圖版，編號3617，頁242 附賈斯帕畫廊開立之原作保證書

HK$ 380,000 - HK$ 600,000 NT$ 1,597,000 - NT$ 2,521,000 US$ 49,000 - US$ 77,300 Ravenel 173

LE RETOUR DES CAVALIERS ANDRÉ BRASILIER

André Brasilier was born into a highly artistic French family in

browns of the medium shot resemble the vastness of billowy

1929. Throughout his career of over half a century, he strove to

waves and sandy beach, while across the beach is a stretch of

establish a distinctive personal style through explorations and

woodlands tinted blue and green. Traversing along the fringe

experiments in abstract painting and expressionism. Horses,

of the forest are four horsemen on their returning journey back

nature, music and women are all subjects he often portrayed,

home. Brasilier’s beloved horses and natural sceneries are all

although portraits rank among his favorite themes because

conveyed in this painting. As he has stated, he delineates his

he believed that people judge artists by their mastery of the

objects neither objectively nor accurately, choosing instead

human form. Music, however, is the essence of his art. He

to compose a beautiful melody using a kaleidoscope of color.

had been in love with music since "Autour de la musique"

From woodland to horses, nothing is restricted by the contours

(About Music), his solo exhibition in 1959. Musical rhythms,

of their natural form, but become part of an eloquent animation

movements, chapters and chords have all exerted profound

upon the canvas orchestrated by Brasilier’s symphony of color.

influences on his artistic creation. Nature and horses were also objects he adored. Brasilier’s works are an unequivocal

安德烈．布拉吉利1929年出生法國藝術世家。在超過半個世紀的

revelation of his passion for life and for nature.

藝術生涯中，他一直致力於抽象繪畫，表現主義以及個人風格的探 索實踐。馬、自然、音樂和女人都是他經常描繪的題材。人像是他

Travel, exploration and discoveries have always played an

尤為鍾愛的題材之一，他認為人們評判藝術家技藝的標準即是對人

important role in his artistic career. Over the years, he has

像的掌握。而音樂是他作品的精髓，自1959年的個展“Autour de

left innumerable, indelible footsteps all over Europe, and

la musique”（關於音樂）之後，他便愛上了這一題材，音樂節奏

created large volumes of sketches and artworks over the

感，樂章和絃對他影響深遠。大自然和馬也是他的摯愛。布拉吉利

course of his journeys. He considers the art of painting to be

的作品充滿了對生活和自然的熱愛，真誠流露。旅行，探索發現是

a material production that must on the other hand reflect the

他藝術創作的一部分。多年來，布拉吉利的腳步遍佈歐洲，旅行的

true feelings and sensations of life. His lifelong objective has

過程中創作大量的寫生和作品。他認為繪畫是一種物質產物，但必

been to seek a balance and harmony between the two. The

須反映來自生活的真實情感。他一直試圖尋求兩者之間的平衡與和

tranquility and serenity found in Brasilier’s works embodies

諧。

a distinctive elegance typically seen in Eastern aesthetics, which is why his works are so well received in Japan. He does

布拉吉利作品中安靜的氛圍和情緒使得他的作品兼具東方美學的優

not consider himself a realist because what he undertakes is

雅氣質。因此，作品在遙遠的的東洋亦受歡迎。他自認為自己不是

the simplification and elucidation of natural sights and the

一個寫實主義藝術家，他將所見的自然加以簡化處理，以客觀的視

representation of these material essences through an objective

角呈現描摹物件的精髓。這與日本美學中禁欲與崇尚簡約的偏好不

perspective. This approach coincides perfectly with the self-

謀而合。布拉吉利同時是一位多才多藝的藝術家，除了架上繪畫之

restraint and simplicity revered in Japanese aesthetics. Brasilier

外，他曾在1985年為兩部戲劇繪製舞臺背景並設計演員服裝；另於

is a gifted artist in many aspects. In addition to easel painting,

1987年創作鑲嵌壁畫。

in 1985 he illustrated stage settings for two plays and designed the performers’ costumes; later on, in 1987, he undertook the

《騎士返程》作於1998年，帶有藝術家典型的風格特徵。畫面被

creation of mosaic murals.

絢爛的色彩分割，遠景湛藍的天空映照著粉色彩霞。中景的深藍、 褐色宛若浩瀚的海洋和安靜的沙灘，越過沙灘則是成片的藍色、綠

P a i n t e d i n 1 9 9 8 , " L e re t o u r d e s c a v a l i e r s " e x e m p l i f i e s

色的森林。森林的邊緣是歸途上的四位騎士。布拉吉利鍾愛的馬，

the artist’s signature style. The canvas is demarcated by

自然都在畫面中得以呈現。正如他所言，他並未客觀準確的描摹物

magnificent colors while the azure sky in the background

件，而是用色彩譜寫一曲美妙的旋律。森林和馬兒都早已擺脫自然

is illuminated with pink-tinted clouds. The deep blues and

界形態的限制，在色彩的交響樂中躍然紙上。

091

ANDRÉ BRASILIER

(French, b. 1929)

Le retour des cavaliers 1998 Oil on canvas 81 x 100 cm Signed lower right André Brasilier in French Initialed on the reverse A.B. , titled Le retour des cavaliers in French and dated 1998 PROVENANCE: Previous owner acquired directly from the artist Private collection, France ILLUSTRATED: Xavier de Coulanges, André Brasilier: Catalogue Raisonné , 1982-2002 (v. I) , Acatos Publishing, Lausanne, 2004, color illustrated, p. 289

安德烈．布拉吉利 騎士返程 1998 油彩 畫布 81 x 100 cm 簽名右下：André Brasilier 簽名題識畫背：Le retour des cavaliers A. B. 1998 來源： 原買家購自藝術家本人 私人收藏，法國 圖錄： 沙維亞．德．古朗士，《安德烈．布拉吉利作品目 錄，1982-2002年，第一冊》，阿卡托斯出版，洛 桑，2004年，彩色圖版，頁289

HK$ 420,000 - HK$ 650,000 NT$ 1,765,000 - NT$ 2,731,000 US$ 54,100 - US$ 83,800 Ravenel 175

ÉGLISE DU VILLAGE MAURICE DE VLAMINCK

"Église du village" constitutes a derivative of the fascinating

his artistic indulgence during the various phrases of his artistic

interlude from Vlaminck's concentrated observation of a quiet

development at a particular point in time. It differs and contrasts

village church. The composition is rich in elements depicting a

with the artist's Fauves canvases inspired largely by works of Van

quiet scene, as a church toppled with a conical rooftop emerges

Gogh whom the artist remained a key proponent of up until the

amidst botanical growths in a somber palette prevalent in

1908, after which his palette become more monochromatic largely

Vlaminck’s artistic oeuvre of that period. The chiaroscuro effects of

due to the influence and response to the works of Cézanne that

the swirling brushstrokes of the blue and white clouds swift above

he had observed at an exhibition, an encounter that constituted a

illuminating the majestic church, while the profuse application of

significant phrase of transition in Vlaminck's artistic development.

rich pigments and the sequence of dabs and streaks rendering the

This prolific phrase subsequently extended to a fruitful personal

shrubberies nearby in various tones of browns and greens further

exhibition of larger scale in 1909. In Vlaminck's latter artistic

define dimensionality sets the tone of the painting. This mastery

endeavors, the artist demonstrated difficulty in accepting

in projecting the stark contrast between light and dark in dabs

Cubism's rise during the war in Paris when artistic modernism

and streaks of colours is connotative of space and brings forth the

was undergoing a delicate transition from Fauvism to Cubism in

essential compositional elements of the church in this exquisite

France. In essence, Vlaminck sought to progress beyond a style

painting. The art historian and critic Jean Selz had once remarked

much like Henri Matisse and André Derain, all whilst retaining his

upon the way in which Vlaminck's "striking contrasts of light and

idiosyncratic and instinctive manner of the application of paint.

shade and introduction of more sombre tones all contribute to the

"Église du village" is truly a remarkable work, beautifully imbued

harmony of Vlaminck's canvas."

with Vlaminck's strident individual characteristics.

The present lot represents a masterful consolidation of form that

《村莊小教堂》源自現代藝術史上的一頁迷人篇章，是烏拉曼克對於

is both enticing and anchoring, as the direction of the shrubbery

某座寧靜鄉村教堂的仔細觀察。此畫構圖豐富，描繪出一幅靜謐景

brunch on the left creates optical direction towards the central

象，畫中圓錐狀屋頂的教堂從鬱鬱蔥蔥中冒出，沉鬱的用色在烏拉曼

church, inviting the viewer to ponder upon what is behind those

克此時期畫作中極為普遍。畫中以旋轉筆觸畫出漂浮的藍、白色雲

neatly shaped rectangular and arched-shape windows of the

彩，強烈的明暗效果襯出宏偉的教堂。鄰近的樹叢則以不同的棕、綠

church. It is apparent that Vlaminck had consistently explored

調子繪出，豐厚的顏料、一連串筆觸或點或撇，更加突顯出立體感，

the realms of scenery landscape, whereby many of these works

也定下整體色調。以星星點點的色彩呈現光與暗的強烈對比，如此高

are manifestations of his reality or inner emotions in responses to

明的手法呼應了空間，也帶出這幅巧妙畫作中最關鍵的教堂構圖元 素。藝術史學家及批評家賽茲（Jean Selz）曾評論烏拉曼克筆下「強 烈的光影對比，又帶入更沉鬱的色調，在在使其畫面臻於和諧。」 此拍品以高超手法展現形式之凝鍊，引人入勝，令人難以移開目光， 藉左方樹叢引導視覺順其方向望向中央教堂，邀請觀者思索教堂整齊 的矩形、拱形窗戶後面藏著什麼。烏拉曼克顯然不斷探索風景畫的各 領域，因此從許多作品中可見到他於藝術生涯各階段某時某刻醉心不 同藝術，當時的現實狀況或內在情緒皆傾注於畫作之中。本拍品和他 受梵谷作品啟發而創作的野獸派繪畫大相逕庭。一直到1908年以前烏 拉曼克一向大力推崇梵谷，之後在某次展出見到塞尚的作品受其影響 並加以唱和，從此用色漸趨單一。接觸塞尚作品為烏拉曼克藝術生涯 的轉捩點，此段時期十分多產，後於1909年舉辦大型個展，成果豐 碩。一戰期間法國的現代藝術漸由野獸派轉為立體派，由烏拉曼克此 時期的創作，可看出身處巴黎的他對此難以接受。烏拉曼克本質上追

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

求的是像馬蒂斯（Henri Matisse）、德安（André Derain）那般超越 流派，同時又保有個人獨特、恣意揮灑顏料的作法。《村莊小教堂》 這幅作品著實不凡，優雅滿溢著烏拉曼克強烈的個人特質。

092

MAURICE DE VLAMINCK (French, 1876 - 1958)

Église du village c. 1925-1926 Oil on canvas 54 x 65 cm

莫里斯．德．烏拉曼克 村莊小教堂

Signed lower right Vlaminck in French Stamped on the reverse Collection Burthoul mars 1950

約1925-1926 油彩 畫布 54 x 65 cm

PROVENANCE: Galerie Georges Giroux, Bruxelles Collection Burthoul (March 1950)

簽名右下：Vlaminck 畫背：Collection Burthoul mars 1950

ILLUSTRATED: To be included in the catalogue raisonné de l'oeuvre de Maurice de Vlaminck.

來源： 喬治．吉魯畫廊，Burthoul 收藏，布魯塞爾 （1950年3月） 此作品將被收錄於維恩斯坦藝術基金會正在編纂 的《莫里斯．德．烏拉曼克作品編年目錄》

HK$ 420,000 - HK$ 650,000 NT$ 1,765,000 - NT$ 2,731,000 US$ 54,100 - US$ 83,800 Ravenel 177

093

RAOUL DUFY

(French, 1877 - 1953)

La Seine à Paris c. 1930 Gouache on paper 50 x 65 cm Signed lower right Raoul Dufy in French PROVENANCE: Lin & Keng Gallery, Taipei Acquired from the above by the present owner (1990s)

HK$ 650,000 - HK$ 950,000 NT$ 2,731,000 - NT$ 3,992,000 US$ 83,800 - US$ 122,400

胡奧．杜菲 巴黎塞納河 約1930 水粉 紙本 50 x 65 cm 簽名右下：Raoul Dufy 來源： 大未來畫廊，台北 現有收藏家購自上述來源（1990年代）

Ravenel 179

LA SEINE À PARIS RAOUL DUFY

"La Seine à Paris" testifies to the exquisiteness of Raoul Dufy’s delicate, script-like brushstrokes and muted palettes display the influence of Impressionist artists such as Claude Monet and Camille Pissarro. Beginning from the 1920s and onwards, Dufy frequently visited Venice, Nice and le Midi and painted regattas and landscapes in brilliant colors with calligraphic brushwork aligned to the present lot. In particular, it features the sparkling views of the French Provence of a classic reclining nude with her left elbow resting gracefully on a vessel against a series of skeletal structures and tower in the background. It is interesting to note that Dufy’s skeletal structures are arranged with foreshortened perspective and the quick application of thin washes of color in tones. In this regard, the bright cool tones of green contrasts with the warmth of the red on the body of the reclining figure resulting in a balanced composition.

It is apparent that the decorative and illustrative nature of the artist’s work followed several traditions of Modernism, coupled with the profound influence that Henri Matisse had on the artist when Dufy first saw Henri Matisse’s Luxe Calme et Volupte at the Salon des Indépendants in 1905 became a revelation that directed the young artist towards Fauvism. Dufy’s later work that embraced a boldness of colors and lines derived elements from his explorations on Fauvism and Cubism. In retrospect, Dufy was a native of Le Havre, France and enrolled in the École Nationale Supérieure des Beaux-Arts in Paris and studied for four years under Bonnat on scholarship. The artist often painted near the vicinity of Le Havre, and, in particular, on the beach at Sainte Adresse.

In 1911, he established a small factory and designed and printed fabrics for the couturier Poiret. Dufy also acquired a reputation as an illustrator for beautiful book illustrations with woodcuts, etchings and lithographs and painted murals for public buildings.

He also worked with different mediums such as ceramics and textiles. Dufy completed, a vast mural "La Fée Electricité" in celebration of the electrical technology for the Exposition Internationale in 1937. Dufy was awarded with the International Grand Prize for his commission for the 26th Venice Biennale in 1952.

《巴黎塞納河》展現杜菲精巧、類似手書筆觸之獨到之處，柔和的用 色則可見莫內、畢沙羅等印象派畫家的影響。自1920年代起，杜菲 經常造訪威尼斯、尼斯及南法，以明亮色彩、如本拍品中書法般的筆 觸描繪帆船賽以及當地風光。尤其，本畫中有法國普羅旺斯的明媚風 光，側臥的古典裸女左手肘優雅倚在瓶上，背景襯著一連串建築及一 座高塔的骨架。請看杜菲以透視法縮小了建築骨架，並快速薄刷了幾 個色調的色彩。以用色而言，各種冷色調明亮的綠與斜倚的人像身上 暖色調的紅相互對比，平衡了構圖。 杜菲作品中的裝飾及插畫性質顯然追隨現代主義的某些傳統，也深受 馬蒂斯的影響。1905年，年輕的杜菲於獨立沙龍展首次見到馬蒂斯 的《奢華，寧靜，與歡愉》大受啟發，從此將他引向野獸派之路。較 晚期的作品則擁抱大膽的色彩及線條，當中有些元素便來自他對野 獸派以及立體派之探索。更早之前，杜菲生長於法國勒阿弗爾（L e Havre），後獲獎學金，入巴黎國家高等美術學院（École Nationale Supérieure des Beaux-Arts）於博納（Léon Bonnat）門下學習四年。 他經常於勒阿弗爾附近作畫，聖阿德列斯（Sainte Adresse）的海灘更 是經常造訪之地。 1911年，他設了一間小工廠，替裁縫師波黑（Paul Poiret）設計、印 製布料。杜菲也以木刻、蝕刻、平版版畫製作美麗的書籍插畫，博得 插畫家美名，亦替公共建築繪製壁畫，此外也利用陶土及織品等多種 媒材創作。他替1937年萬國博覽會（Exposition Internationale）完成 一幅名為《電之仙子》（La Fée Electricité）的大型壁畫，歌頌電力科 技。1952年杜菲為第26屆威尼斯雙年展製作的作品獲得了國際大獎。

Henri MATISSE, Lorette Reclining Nude , circa 1916-1917 馬蒂斯《羅雷特側臥裸像》，約1916-1917

Ravenel 181

094

ANDRÉ MASSON

(French, 1896 - 1987)

Quatuor 1974 Oil on canvas 100 x 81 cm​​ Signed lower left André Masson in French PROVENANCE: Galerie Louise Leiris, Paris Briest Auction, Paris, June 16, 1993, Lin & Keng Gallery, Taipei Acquired from the above by the present owner (c. 1995) EXHIBITED: André Masson , Galerie Louise Leiris, Paris, March 3 – April 9, 1977 ILLUSTRATED: Le Jardin des Arts: Revue Mensuelle , Éditions Taillandier, Paris, 1977, issue no. 168 of April, color illustrated, cover page André Masson , Lin & Keng Gallery, Taipei, 1995, color illustrated, plate no. 16

HK$ 900,000 - HK$ 1,400,000 NT$ 3,782,000 - NT$ 5,882,000 US$ 116,000 - US$ 180,400

Le Jardin des Arts: Revue Mensuelle Arts et Lettres , Éditions Taillandier, Paris, 1977, issue no. 168 of April 《藝術花園月刊 – 藝術與文學》，泰蘭迪耶出 版，巴黎，1977年4月號，第168期刊

安德烈．馬松 四重奏 1974 油彩 畫布 100 x 81 cm 簽名左下：André Masson 來源： 路易絲．賴利畫廊，巴黎 布里耶斯特拍賣，巴黎，1993年6月16日 大未來畫廊，台北 現有收藏者購自上述來源（約1995年） 展覽： 「安德烈．馬松」，路易絲．賴利畫廊，巴黎， 展期自1997年3月3日至4月9日 圖錄： 《藝術花園月刊 – 藝術與文學》，泰蘭迪耶出 版，巴黎，1977，第168號四月刊，彩色圖版， 封面 《安德烈．馬松》，大未來畫廊，台北，1995， 彩色圖版，圖16

Ravenel 183

th

André Masson was a pioneer of 20 century action painting. Born

works were often considered as representations of abstraction. In the

in Oise, France, in 1896, he was a French painter whose works were

1950s, he was especially enchanted with the abstract beauty of the

closely associated with surrealism. He passed away in Paris in 1987,

universe and the theme of spontaneous symbols as well as themes

and during his lifetime was not only regarded as a painter but also

focusing on spiritual expression.

a writer, philosopher, sketcher, sculptor, stage designer and fashion designer. As a young man, Masson studied art at Académie Royale

In 1965, he was commissioned by the Théâtre de l'Odéon in Paris to

des Beaux-Arts, Brussels and École nationale supérieure des beaux-

paint murals on its vaulted ceiling; that same year, Musee Nationale

arts de Paris. The multiplicity of Masson’s works does not represent

d'Art Moderne held the first large retrospective exhibition of

the advancement of any particular style. In his early years, he was

Masson. His works exhibit rich cultural influence, especially elements

influenced by Cezanne’s cubism, James Ensor’s symbolism and the

pertaining to literature and philosophy. Entering the 1970s, his works

Art Nouveau movement in Belgium. He served in the French Army

began shifting to themes of symbolism and edification that examined

in war time, and was wounded. After leaving the army, he lived in

the dialogue between expression of personal myth and cultural

the south of France, then returned to Paris where he met Miró and

pictograms

Breton. He joined the surrealists in 1923 and in the following year began to experiment with the deeply emblematic “dessin spontané

Looking back on the development of art history, after the Second

(automatic drawing),” a technique that advocates the rhythmic

World War, the center of art shifted from France to America.

spontaneity of written symbols and non-logical writing. He created a

Historical and cultural factors facilitated this change. Nazi Germany’s

number of automatic drawing works in pen and ink. Masson believed

persecution led many exceptional artists, literary writers and

that “action” was as important as painting and sketching, which was

scientists to leave their homes. The tolerant American culture

why he became a pioneer of abstract expressionism and “action

opened the doors to these people in distress. Masson’s life in

painting.” Masson would often force himself to work under extreme

America was also an important stage in his artistic career. His art also

conditions, for example, after long periods of time without food

profoundly influenced the development of American modern art.

or sleep, or under the influence of drugs. He believed that forcing

Then he went back to his motherland, returned to European tradition

himself into a reduced state of consciousness would help free his art

and maintained an elegant distance with the vigorous American

from rational control, and hence become closer to the workings of his

modern art movement.

subconscious mind. From around 1926 he experimented by throwing sand and glue onto canvas and making oil paintings based on the shapes that formed. By the end of the 1920s, he had produced many works with violent or erotic themes, and created a number of paintings in reaction to the Spanish Civil War.

From the end of the war to the 1970s, abstract expressionism, pop art, photorealism, conceptual art, land art, and other art styles swept the art world. European artists were mostly immersed in post-war reflections. Influenced by consumer culture, American art emphasized worldliness. Yet Masson persisted with his style

In 1940, he fled to the U.S. to escape the war with Breton and

exploration. The work “Quatuor” was completed in 1974. At this

other contemporaries. During his stay in the U.S., Masson became

time, the artist was already seventy. He still had exuberant creative

interested in Indian and African American mythologies, and was

passion and constantly broke his own boundaries. After experiencing

also attracted to Chinese ink wash painting and calligraphy. Masson

years of abstract painting research, Masson’s paintings returned to

was a considerable influence on American artists Arshile Gorky and

figurative expression. In “Quatuor”, the character images are clear

Jackson Pollock, who both deeply admired Masson’s automatism.

and distinguishable without deliberate realistic treatment. Color

Returning to France in 1945, Masson infused these vibrant

was still the dominator of the picture. The main body of the picture

impressions into his abstract expressionist works, in which a colorful

was constituted of large blocks of yellow, intermingled with red

lyricism had replaced his former automatism. During this period, his

and cool colors of blue and black. It was harmonious without losing a sense of rhythm. The paint brush strokes that imitated pencil lines in the background were neatly arranged.

They echoed the momentum of the objects depicted by the picture’s main body. In terms of styling, the work also had traces of the artist’s early classic works. The simplified and distorted styling of the characters cannot help but let people recall the artist’s early Cubist style works. The use of lines also retained the appeal of his early studies of Chinese calligraphy, which achieved

André MASSON, Pedestal Table in the Studio , 1922, oil on canvas, 50 x 60 cm, Tate Collection

André MASSON, Kitchen-maids , 1962, oil on canvas, 50 x 64 cm, Tate Collection, London

安德烈．馬松《畫室的柱腳桌》1922 油彩 畫布 英國泰德美術館收藏

安德烈．馬松《廚房女傭》1962 油彩 畫布 50 x 64 cm 英國泰德美術館收藏

the same goal as the artist’s work in 1962, “Kitchen-maids”.

安德烈•馬松，是二十世紀「行動繪畫」的先行者。他是風格

表現的主題。1965年，他為巴黎奧德翁繪製頂棚壁畫；同年巴

近似超現實主義的法國畫家，1896年出生於法國北部的瓦茲

黎國家現代美術館舉辦了首次的馬松大型回顧展，其作品富文

省；1987年逝世於巴黎。他不僅是畫家，同時也是作家、哲

化性，尤其具有文學性及哲學性。進入1970年代，他的作品開

學家、素描家、雕塑家、劇場舞臺與服裝設計者。年輕時入布

始轉向象徵和啟蒙主題。探討個人的神話表達與文化象形之間

魯塞爾美術學院與巴黎高等美術學院習畫。馬松的作品多樣貌

的對話。

並不代表是單一風格的持續演進。其早期畫家受塞尚的立體主 義、詹姆斯•安索爾的象徵主義以及比利時新藝術等所影響。

回望藝術史的發展過程，自二戰之後，藝術的中心由法國轉移

戰爭期間，他曾在法國軍隊服役。負傷退役之後，輾轉法國南

至美國。歷史因素和文化因素促成了這一轉變。納粹德國的迫

部，而後定居巴黎，與米羅、布荷東等人相識相知。1923年加

害使得許多優秀的藝術家，文學家，科學家背井離鄉，美國包

入超現實主義團體，隔年開始實驗具有象徵內涵的「自動性繪

容的文化向這些落難的人們敞開大門。馬松在美國的生活也是

畫」（dessin spontané），極富書寫符號與無邏輯的書寫韻

其藝術生涯的重要階段，他的藝術也對美國現代藝術發展產生

律，創作了大量鋼筆墨線的自動繪畫作品。馬松認為「行為」

深遠影響。而後他回到故國，重歸歐洲傳統，與美國轟轟烈烈

與繪畫或素描都具有同等的重要性，因此他成為抽象表現主義

的現代藝術運動保持優雅的距離。

或「行動繪畫」的先驅。他經常迫使自己在極端狀況下創作， 例如在長時間的饑餓和困乏狀態下創作，或借助藥物效力進行

戰後至1970年代，抽象表現主義，普普藝術，照相寫實主義，

創作。他相信這樣的極端方式可以幫他擺脫理性的藩籬，最大

觀念藝術，大地藝術等藝術風格流派席捲藝術界。歐洲藝術家

限度的接近自身的無意識狀態，從而實現藝術的自由發揮。大

多沉浸於戰爭的反思，美國藝術受消費文化影響，強調現世。

約1926年左右，他開始嘗試偶然性對繪畫創作的影響，例如他

而馬松則堅持自己的風格探索。作品《四重奏》完成於1974

在畫布上扔沙子和膠水，而後根據兩者形成的圖形進行油畫創

年，此時藝術家已年屆七旬，依然包含著旺盛的創作熱情，不

作。1920年代末期，他創作許多帶有暴力和色情主題的作品，

斷突破自己的界限。在歷經抽象繪畫研究多年之後，馬松的繪

其中不少是影射西班牙內戰。

畫重新回歸具象表達。《四重奏》的畫面中，人物的形象清晰 可辨，但沒有刻意的寫實處理，色彩依然是畫面的主導。畫面

1940年為躲避戰禍而與布荷東等相偕逃亡至美國，馬松對印

主體由大塊面的黃色構成，間雜紅色和冷色調的藍和黑色，和

地安與黑人神話深感興趣，此外還受到中國水墨畫與書法的吸

諧而不失節奏感。背景中油彩筆刷模仿鉛筆的線條的筆觸整齊

引。馬松對美國畫家如高爾基以及帕洛克有絕對的影響力，他

排列，呼應畫面主體描繪物件的動勢。在造型方面，作品亦帶

們身受馬松的自動性主義所折服。1945年馬松回到法國，各種

有藝術家早期的經典作品的痕跡。人物被簡化和扭曲的造型，

深刻印象注入了他的新表現主義作品，富色彩的抒情主義取代

不由讓人想起藝術家早年立體派風格佳作。線條的運用亦保留

了自動性主義，因而經常走入抽象的境地。1950年代，他尤其

著早年研習中國書法的情趣，與藝術家作於1962的作品《廚房

著迷宇宙與自發性符號主題所蘊含的抽象美感，以及側重精神

女傭》中的線條有異曲同工之妙。

Ravenel 185

095

BERNARD CATHELIN

(French, 1919 - 2004)

Roses d'Inde des Rebattières 1972 Oil on canvas 162 x 130 cm Signed lower left Cathelin and dated 72

HK$ 800,000 - HK$ 1,200,000 NT$ 3,361,000 - NT$ 5,042,000 US$ 103,100 - US$ 154,600

貝爾納．卡多蘭 萬壽菊 1972 油彩 畫布 162 x 130 cm 簽名左下：Cathelin 72

Ravenel 187

ROSES D'INDE DES REBATTIÈRES

BERNARD CATHELIN

"Roses d'Inde des Rebattières" exudes extraordinary romantic nostalgia through the use of a warm palette of amber, beige, yellow and autumn greens. The light plain on the left constitutes a source of light akin to the majestic warm sun rays beaming into a comforting home as it illuminates the naturalistic form of the delicate florets and leafy sprigs of the bouquet resting elegantly on its vase, while the defining lines on the color plain on the right cutting perpendicularly across the canvas connotes dimension and contrasts greatly with the sinuous lines defining the shape of the vase below the naturalistic arrangement of the bouquet. The present lot features a notable elegant temperament beautifully imbued with the poetic sentiments of Cathelin’s love for beautiful scenery of nature. The artist pays tribute to this wonderful world through his use of colors and means of a semi-figurative form to extenuation the naturalistic beauty of his subject matter, his palettes are extremely rich and often exhibit colors and quantities from the countries he had visited in the past, including Drôme, Mexico, India and Japan. Cathelin’s works are akin to a beautiful Japanese Haiku poem of great poetic sentiments.

In retrospect, Bernard Cathelin was born in Paris in 1919. Throughout his life, he has maintained a deep-rooted love for his country and especially for Drôme, the homeland of his mother. Cathelin have studied at the Ecole Nationale Supérieure des Arts Décoratifs de Paris and further explored on the techniques of painting under the guidance of M. Brianchon. Cathelin has exhibited in the Salon d' Automne, Salon des Tuileries, Salon de la Jeune Peinture among other established galleries globally including the United Kingdom, United States, Switzerland, Canada, Japan and Shanghai. In particular, the Musée de Valence dedicated a retrospective of the artists’ works in 1997. In 2000, the Shanghai Art Museum in China organized a retrospective exhibition presenting 40 years of Bernard Cathelin’s works in celebration of his contributions. Cathelin has received many awards through out the years as an affirmation to his artistic talents. 《萬壽菊》一畫融入溫暖的琥珀色、米色、黃色，以及略帶秋意的黃綠色，散發濃厚的懷舊與浪漫氣息。左 半部明亮而簡純，彷彿可以看見和煦的陽光，在溫韾的家中灑落耀眼光輝，照亮花瓶中一束優雅佇立的花。 這束花有雅緻的小花和蓊鬱的嫩枝，自然而生動。畫布右方描繪樸素的垂直色塊，將畫面一分為二，營造出 空間感；與之對比的是以彎曲線條勾勒的花瓶，上方插著生動、自然的花束。這幅畫高貴且優雅，濃厚的詩 意展現出卡多蘭對自然美景的熱愛。畫家運用色彩和半具象的畫風，突顯出題材的自然之美，向美好的世界 致上敬意。他的用色非常豐富，對於造訪過的國家，經常將當地的代表色融入畫作，這些地方包括法國的德 龍省、墨西哥、印度和日本。卡多蘭的畫作就像日本的俳句，饒富詩意。 卡多蘭於1919年出生法國巴黎，終身保有對國家的熱愛，對母親的出生地德龍省，更是鍾愛有加。卡特 蘭曾就讀法國國立巴黎高等裝飾藝術學院，而後拜於比安宋（M. B r i a n c h o n）門下，繼續鑽研繪畫技巧。 卡特蘭的畫作曾在世界各地的畫廊展出，包括秋季沙龍（S a l o n d'A u t o m n e）、杜樂麗沙龍（S a l o n d e s Tuileries）、青年畫家沙龍展（Salon de la Jeune Peinture），以及英國、美國、瑞士、加拿大、日本、上 海的知名畫廊。其中，法國的瓦朗斯博物館（Musée de Valence）更在1997年舉辦卡多蘭回顧畫展。上海 美術館也在2000年籌辦回顧展，蒐羅卡多蘭四十年來的畫作，以紀念他對藝術的貢獻。卡多蘭多年來獲獎無 數，藝術才華深受各界肯定。

Ravenel 189

NEVER LAZY IN LOVE SUPAKITCH

SupaKitch, a Parisian-born artist who has worked many metropolitan cities including Paris, Biarritz, Los Angeles and New York. The artist’s passion for street art, mangas, graffiti and tattoos and the hip-hop culture are elements that appear to be omnipresent in his works. In the 1990s, he met fellow graffiti artist Hazy and music producer Eone, which inspired him to explore works combining various techniques of painting, photography and graphics in exploring the theme of music.

The present lot "Never Lazy in Love" is strongly infused with musicality and rhythm entices one to explore SupaKitch’s animatic fairy tale world, whereby the red panda, fox like creature appears to be suspending mid-air below a cloud of intensely colored foliated blossoming florets and leafy sprigs among animatic heads. The artist’s has created "a universe with Asian influences, pop-romantic and musical where anthropomorphic creatures such as the Supanimal, who looks like a red panda, a fox and a bird, are used as metaphors." Through these miraculous and enticing depictions, SupaKitch created a world where the characters are regarded as an extension of himself that represent the different aspects of his personalities. The representation of these imageries further conveys the artist’s innermost emotions.

In this regard, SupaKitch likens painting as a process that parallels expressing his emotions in his private diary, where beneath these imagines lie the different emotions of the artists.

SupaKitch has collaborated with brands such as Sixpack, Brendan Monroe, Wayne Horse, Koralie where the artist painted murals in the brand’s various shops across Europe, Dusseldorf, Copenhagen, Paris, San Sebastian and Lisbon. SupaKitch had his first major solo show based upon an original concept he called “Ubiquity in 2007. He has also been exhibiting worldwide in galleries in Paris, Taipei and Miami. 市霸奇奇出生於巴黎，曾經在許多大都會進行創作，包括法國的巴黎和比亞里茨，以及 美國的洛杉磯和紐約。他特別鍾情街頭藝術、漫畫、塗鴉、刺青和嘻哈文化，在他的作 品中，這些元素無所不在。1990 年代，他認識了同期的塗鴉藝術家 H a z y 和音樂製作人 Eone，啟發他的靈感，開始在創作中納入各種繪畫、攝影、製圖技巧，在創作的同時探索 音樂之美。 《愛不偷懶》極富音樂性和律動感，讓人迫不及待想一探市霸奇奇打造的夢幻王國。紅色 的生物，似貓熊、似狐狸，漂浮空中，上方一大束繁花與青葉，色彩斑斕，還有漫畫人物 的頭像穿插其中。藝術家營造出一個融合亞洲元素、流行浪漫和音樂劇的世界，這裡有擬 人化的卡通動物「S u p a n i m a l」，看起來像紅色的貓熊，像狐狸，又像小鳥。在市霸奇奇 的創作中，擬人動物具有象徵性的作用。這些超自然的迷人角色，其實是市霸奇奇自我的 延伸，代表藝術家不同的個性。這些造型的象徵更傳達出藝術家的最深層情緒。市霸奇奇 將繪畫的過程比擬為在個人日記上抒發情感，隱藏在這些圖像底下的，正是藝術家的喜怒 哀樂。 市霸奇奇曾經與Sixpack、Brendan Monroe、Wayne Horse、Koralie 等品牌合作，為他們 的商店創作壁畫，足跡遍布歐洲各地，包括德國杜塞道夫、哥本哈根、巴黎、聖塞巴斯提 安和里斯本。市霸奇奇個人的首場重要畫展於2007年舉辦，並以他所謂的「無所不在」作 為畫展的原創概念。他的作品曾在世界各地的藝廊展出，包括巴黎、台北、邁阿密等地。

096 SUPAKITCH

(French, b. 1978)

Never Lazy in Love 2014 Acrylic on canvas 215 x 100 cm Signed lower right SupaKitch and dated 2014

HK$ 220,000 - HK$ 320,000 NT$ 924,000 - NT$ 1,345,000 US$ 28,400 - US$ 41,200

市霸奇奇 愛不偷懶 2014 壓克力 畫布 215 x 100 cm 簽名右下：2014 SupaKitch

Ravenel 191

KAWS, a Brooklyn-based artist, has created a prolific body of

deliberately blurs the boundaries between art, design and product.

influential work under the Pop Art tradition. The artist’s wide-ranging

KAWS regularly exhibits in museums and galleries worldwide. The

practices include graphics, paintings, product design, murals and

artist has exhibited in the Pennsylvania Academy of Fine Arts, The

large-scale sculptures. The artist’s large, bright and graphical

Modern Art Museum of Fort Worth, Harbor City in Hong Kong,

canvases immaculately rendered in acrylic paint and monumental

the Yorkshire Sculpture Park, Gallery Perrotin in Paris, New York

large-scale fiberglass, bronze, aluminum and wood sculptures often

and Hong Kong and the Honor Fraser Gallery just to name a few.

exhibits many replicating imageries that surpass the realms and

KAWS works are currently in public collections such as the Nerman

boundaries of linguistics and culture that transpires between art and

Museum of Contemporary Art, the Zabludowicz Collection and the

commercial design. In retrospect, Brian Donnelly is a native of New

Rosenbaum Collection.

Jersey, commonly known as KAWS, whose talent was manifested in the form of graffiti through his passion for skateboard growing

布萊恩．唐納利是一位布魯克林藝術家，曾創作許多具影響力的普普風

up in Jersey City, where he would frequently adorned freight-trains

作品，創作領域廣泛，包括圖形設計、繪畫、產品設計、壁畫和大型

and walls with the pseudonym KAWS as he has a liking for how the

雕塑。他善於用壓克力顏料創作出明亮的大型帆布畫像，以及用玻璃

formation of these letters worked together cohesively. Upon his

纖維、青銅、鋁材、木材等素材雕塑，相同的形象經常在作品中反覆

graduation from secondary school in 1992, he began to subvert

出現，超越語言與文化的範疇與界線，橫跨藝術與商業設計的領域。

imagery on billboards and public advertisements, he would utilized

布萊恩．唐納利出生紐澤西，以「K A W S」的名稱廣為人知，而他之所

acrylic paint with no visible brushstrokes in attempts to make his

以選擇「K A W S」作為創作時的屬名，是因為他很喜歡這四個字串連

additions appears seamlessly as part of the original advertisement.

在一起的組合。在紐澤西市長大的他熱愛滑板，經常在鐵路運貨車和

The artist designed his first vinyl toy "Companion" in 1999 with

牆壁上塗鴉，因此啟發了塗鴉的才能。1992 年從中學畢業後，他開始

Japanese apparel Bounty Hunter and began to make editions as

將圖像畫在廣告看板和海報上，以不帶痕跡的筆觸讓壓克力顏料與原

artists such as Tom Wassermann and Claes Oldenburg greatly

本的廣告完美結合。他在 1999 年和日本服飾品牌 B ou n t y H u n t e r 聯

inspired him at the time. This initial venture garnered much attention

手推出第一個玩具公仔《伴侶》（C o m p a n i o n）。在湯姆•衛塞爾曼

in the global art toy community, his prevalence in the commercial

（Tom Wassermann） 與克拉斯•歐登伯格（Claes Oldenburg）等

sector fostered subsequent

藝術家的強烈啟發下，他也開始創作不同

collaborations with other labels such as

的公仔（V i n y l t o y s）款式。這些早期的

A Bathing Ape, Undercover, Medicom,

創作嘗試讓他在全球藝術玩具社群大受矚

Santastic in the East and household commercial giants such as Nike, Supreme, Kiehl’s cosmetics, Hennessy and Marc Jacobs from the West.

ACROSS BOUNDARIES ART. DESIGN. PRODUCT. 跨界 – 藝術、設計與產品

目，而他在商業界引發的流行也開啟了與 許多知名品牌合作的機會，包括日本的 A Bathing Ape、Undercover、Medicom、 Santastic，以及家喻戶曉的西洋商業巨擘 Nike、Supreme、Kiehl's、Hennessy、 Marc Jacobs。

Alongside the more commercial sector, KAWS portrayed his passion for painting on large canvases and paintings. The present lot "Untitled

除了偏商業化的創作外，K A W S的創作熱情也展現在大型帆布作品與繪

Camo Skulls" portrays his trademark figure with its soft skull

畫上。這幅《無題（迷彩骷髏頭）》以柔和的交叉骨骷髏和打叉的雙

crossbones and crossed-out eyes. These unique attributes became

眼構圖，畫的正是他的作品特色。這些獨特的形象讓角色本身彷彿獲

a trademark of the artist as these characters gain a life of its own.

得生命，也成為K A W S的獨特標誌。K A W S利用色彩的交互作用製造趣

KAWs engages in a playful interplay with colors as the earthy neutral

味，他用中性的大地色調為眼睛打叉的骷髏頭著色，並用明亮的背景

shades of the cross-eyes head stands out against the lightness

襯托圖像。K A W S甚至跨足主流媒體界，他多次與普普文化圈深具影響

of the background. The significance is widespread particularly

力的代表人物合作。舉例來說，他曾經與歌手菲瑞．威廉斯 (P h a r r e l l

in mainstream media as the artist continues to collaborate with

Williams) 合作，在他推出個人專輯時攜手為Commes des Garcons公

influential figures of the pop-culture such as Pharrell Williams on

司打造《G i r l》香水。他也曾經為錄音創作歌手肯伊．威斯特（K a n y e

his perfume bottle "Girl" the singer had created in junction with

West）的專輯《心碎節拍》（808s & Heartbreak）設計封面。此外，

Commes des Garcons in celebration of his solo album. The artist has

他也從漫畫與流行文化汲取靈感，創造出許多經典角色，將美國主流卡

also designed the cover art for recording artist Kayne West’s album

通人物轉換成他的個人代表作。K A W S表示：「我也覺得奇怪，卡通人

"808s & Heartbreak." Furthermore, KAWS’ appropriation of iconic

物竟能如此深入人們的生活，影響力甚至可以媲美常見的政治人物。」

characters from comic books and popular culture are manifested in

K A W S也將許多經典角色重新塑造，包括藍色小精靈、海綿寶寶、米其

some of works where predominant American cartoons are subverted

林寶寶和米老鼠。他以獨特的創作手法模糊藝術、設計與產品的分野。

into his own artistic productions. KAWS reasons that "I found it

K A W S的作品經常在全世界的博物館和藝廊展出，包括賓州藝術學院美

weird how infused a cartoon could become in people's lives; the

術館、沃斯堡現代美術館、香港海港城、約克郡雕塑公園、巴黎、紐約

impact it could have, compared to regular politics." A reworked

和香港的沛宏堂藝廊，以及Honor Fraser畫廊。目前，KAWS的作品為

of other iconic characters that became the central characters in

公共收藏，展示於紐門當代美術館、英國倫敦的扎布羅多維克茨收藏

KAWS’ paintings include the Smurf, Sponge Bob Square Pants, the

館（Zabludowicz Collection），以及羅森鮑姆收藏館（Rosenbaum

Michelin Man and Mickey Mouse. KAWS’ unique artistic approach

Collection）。

097

KAWS

(Brian DONNELLY, American, b. 1974)

Untitled (Camo Skulls) 1999 Acrylic on canvas 40.6 x 40.6 cm

KAWS （ 布 萊 恩 ． 唐 納 利 ） 無題（迷彩骷髏頭）

Signed on the reverse KAWS in English, numbered 3 and dated 99

1999 壓克力 畫布 40.6 x 40.6 cm

PROVENANCE: Private collection, USA

簽名畫背：KAWS"

HK$ 240,000 - HK$ 360,000 NT$ 1,008,000 - NT$ 1,513,000 US$ 30,900 - US$ 46,400

3

99

來源： 私人收藏，美國

Ravenel 193

098

KAWS

(Brian DONNELLY, American, b. 1974)

Companion: Passing Through 2013 Painted cast vinyl, edition of 500 12 (L) x 19 (W) x 30 (H) cm Stamped on bottom of foot © KAWS..13 MEDICOM TOY 2013 CHINA EXHIBITED: KAWS．Ups And Downs, Nerman Museum of Contemporary Art, Kansas, October 25, 2013 – February 16, 2014 (large sculpture) A Shared Space: KAWS , Karl Wirsum, and Tomoo Gokita , Newcomb Art Museum at Tulane University, New Orleans, September 9, 2015 – January 3, 2016 (large sculpture)

HK$ 9,000 - HK$ 15,000 NT$ 38,000 - NT$ 63,000 US$ 1,200 - US$ 1,900

K AWS（布萊恩．唐納利） 同伴 2013 彩繪 乙烯 雕塑 限量500版 12（長）x 19（寬）x 30（高）cm 簽名足底部：© KAWS..13 MEDICOM TOY 2013 CHINA 展覽： 「KAWS．上上下下」，諾曼當代美術館，堪薩斯，展 期自2013年10月25日至2月16日（大型雕塑） 「共享空間：KAWS,、卡爾．威瑟姆、五木田智央」， 杜蘭大學紐科姆美術館，紐奧良，展期自2015年9月9 日至2016年1月3日（大型雕塑）

099

KAWS

(Brian DONNELLY, American, b. 1974)

Presenting the Past 2014 Screenprint in colors, edition no. 30/250 81 x 81 cm Signed lower right KAWS..14 , numbered lower left 30/250

HK$ 30,000 - HK$ 50,000 NT$ 126,000 - NT$ 210,000 US$ 3,900 - US$ 6,400

KAWS （ 布 萊 恩 ． 唐 納 利） 展現過去 2014 絲網版畫 版次30/250 81 x 81 cm 簽名右下：KAWS..14 編號左下：30/250

Ravenel 195

100

NANO WARSONO (Indonesian, b. 1976)

Angry Boy 2013 Acrylic on canvas 81 x 60.5 cm Initialed lower left NW, inscribed I/X and dated 2013 PROVENANCE: Art Seasons Gallery, Singapore

HK$ 20,000 - HK$ 30,000 NT$ 84,000 - NT$ 126,000 US$ 2,600 - US$ 3,900

納諾•瓦索諾 憤怒男孩 2013 壓克力 畫布 81 x 60.5 cm 簽名左下：I/X NW 2013 來源： 季節畫廊，新加坡

101

TORU KUWAKUBO (Japanese, b. 1978)

Woman under Red Star Light

桑久保徹

2006 Oil on canvas 41 x 32 cm

紅星燈下的女人

Signed on the reverse Kuwoud Bonet in English, titled Woman under Red Star Light in Japanese, dated 2006 PROVENANCE: Tomio Koyama Gallery, Tokyo EXHIBITED: 2014 Summer Collection Show , Gallery J. Chen, Taipei, July 26 – August 24, 2014

2006 油彩 畫布 41 x 32 cm 簽名畫背："赤い星に照らされた女" 2006 Kuwoud Bonet 來源： 小山登美夫畫廊，東京 展覽： 「2014年夏日收藏展」，J. Chen 畫廊，台 北，展期自2014年7月26日至8月24日

HK$ 22,000 - HK$ 36,000 NT$ 92,000 - NT$ 151,000 US$ 2,800 - US$ 4,600 Ravenel 197

102

KAMATANI TETSUTARO (Japanese, b. 1979)

Happy Paradise II- # 27 2008 Mixed media, oil on canvas 91 x 91 cm

鎌谷徹太郎 快樂天堂 II- 27

Signed on the reverse Kamatani , titled Human Paradise II - 27 and dated 2008

2008 綜合媒材 油彩 畫布 91 x 91 cm

EXHIBITED: Ultra Superficial – Kamatani Tetsutaro , Gallery J. Chen, Taipei, 2009

簽名題識畫背：Kamatani 2008 Human Paradise 「Human Paradise Ⅱ- 27」

HK$ 26,000 - HK$ 40,000 NT$ 109,000 - NT$ 168,000 US$ 3,400 - US$ 5,200

展覽： 「極膚淺－鎌谷徹太郎，J. Chen畫廊，台北，展期 自2009年3月21日至4月30日

103

AI YAMAGUCHI

(Japanese, b. 1977)

Princess Sakura 2007 Acrylic and foil on paper 51 x 36.5 cm Signed on the reverse ai in English and dated 2007 with two exclamation marks

HK$ 42,000 - HK$ 65,000 NT$ 176,000 - NT$ 273,000 US$ 5,400 - US$ 8,400

山口藍 櫻姬 2007 壓克力 金箔 紙本 51 x 36.5 cm 簽名畫背：ai 2007!!

Ravenel 199

104

HWANG HYUN SEUNG (Korean, b. 1980)

Sweet 20 2008 Oil on canvas 145 x 112 cm Signed on the reverse Hwang Hyun Seung in English and Korean, titled Sweet in English, inscribed 112.1 x 145.5 cm Oil on Canvas no-20 Korea , and dated 2008

HK$ 42,000 - HK$ 65,000 NT$ 176,000 - NT$ 273,000 US$ 5,400 - US$ 8,400

黃炫升 甜蜜20 2008 油彩 畫布 145 x 112 cm 簽名畫背：Sweet 112.1 x 145.5 cm Oil on Canvas 2008 no-20 Korea Hwang. Hyun Seung

105

AYA TAKANO

(Japanese, b. 1976)

Megu Plays on the Traffic Signs; Dresses for the Imaginary Cinema (A set of two) 2002 ; 2003 Watercolor and ballpoint pen on paper ; Watercolor on paper 11 x 19 cm ; 25 x 31 cm Signed on the bottom TAKANO AYA and dated 2002 Titled on the reverse Megu Plays on the Traffic Signs in Japanese Signed on the bottom TAKANO AYA and dated 2003 , inscribed 1/5 PROVENANCE: Kaikai Kiki Co. Ltd., Tokyo (Dresses for the Imaginary Cinema)

HK$ 55,000 - HK$ 85,000 NT$ 231,000 - NT$ 357,000 US$ 7,100 - US$ 11,000

高野綾 小愛在交通號誌上嬉戲；為虛構電影 定裝（兩件一組） 2002 ; 2003 水彩 圓珠筆 紙；水彩 紙本 11 x 19 cm ; 25 x 31 cm 簽名下方：2002 TAKANO AYA 款識畫背：めぐが標識の上であそぶ 簽名下方：2003 TAKANOAYA 1/5 來源： Kaikai Kiki畫廊，東京（為虛構電影定 裝） Ravenel 201

One of the greatest human cultural accomplishments of the last

on the celluloid boards" and a soul of its own, their existence

century was the immersion of our lives in a digitalized environment.

transcends the boundaries between an adult and a child, or men

Many household gadgets commonly found in the contemporary

and women. These characters will indefinitely evolve together

world are dependent upon electronic gauges and digital systems.

In this regard, the works of Hiroyuki Matsuura predicates upon

with the digital society and becomes a part of the global culture.

Matsuura works presents a juxtaposition between real existence

the aforementioned sentiment and acknowledges a world that is

and virtual situations, the colorful bright colors of digital imaging

increasingly digitalized. In retrospect, the artist started as a graphic

of the new century driven by animatic aesthetics constructs

designer specializing on advertising, packaging, binding and logo

endlessly changing visual forms that nurtures the present taste,

design. The year 1999 is significant and marked the beginning of

while simultaneously connotative of the sentiment that the digital

Hiroyuki’s journey in producing posters, package and skateboard

world can be fully incorporated into our lives in this era of global

design on the theme of Character Illustration. A series of solo

digitalization. These dazzling visual effects bear metaphorical and

exhibition since 2005 further facilitated advancement in his career

humorous content that are ubiquitous in Asian popular culture

as an artist. In essence, the artist's work predicates upon notions

today.

of the prevalence of the digital culture and how it extends to our everyday lives, he strives to amplify the potential in these images

上一世紀，人類文化最偉大的成就之一，是將我們的生活融入數位世

as he believes that "their existence within the monitor frame is no

界之中。在現今的社會，許多家居用品都需要依賴電子器材與數碼系

different from the views outside our window frames."

統運作。松浦浩之的作品正是誕生於這種對數位世界的感懷，指出整 個世界正在進一步數位化。松浦過去曾是一位平面設計師，擅長廣

In "End of Forest ", the bulbous mushroom head frames the

告、包裝、書籍封面和商標設計。1999年，他的設計事業邁向新的里

innocent face of the character adorned with a hooded dark

程，開始以人物插圖設計海報、包裝與滑板。從2005年開始，他舉辦

charcoal ensemble over its head seems to speak directly to its

了一系列個人展覽，標誌著其藝術家生涯的一大進展。松浦浩之的作

audience. The various tones of greys

品主要強調數碼文化無所不在，逐步滲入我們日

utilized on the canvas delicately

常生活的每個角落。他努力拓展人物插畫的發展

extenuate the acrylic sheen of the icy-

空間，因為他相信「螢幕上虛擬的情景與我們從

grey pupils of the figure that conveys a sense of innocent demeanor through its direct gaze, who is not shown in its entirety creating a contextual narrative

END OF FOREST HIROYUKI MATSUURA

窗戶往外看並無不同」。 在《森林的盡頭》中，主角頭戴木炭黑斗篷帽， 圓鼓鼓的蘑菇型頭部，勾勒出無辜的臉龐，彷彿

that extends beyond the confines of the

逕直向觀者訴說話語。藝術家在畫布上運用深

canvas. The highly decorative works of

淺不一的灰色，突顯出人物冰灰色眼瞳的壓克

Matsuura Hiroyuki can be considered as

力光澤。主角向前方直視的神情，讓人感受到

a part of neo-Japanism, where the various shades of the same color

其天真無邪的個性。畫作並未納入人物的全身，暗示著當中描述的故

and the clean lines bordering the smooth and saturated colors

事尚未完結，畫中故事延續至畫布之外。松浦浩之高度裝飾的表現手

are sharp and stylish, instilling life and vital energy to the subject

法可視為新日本主義的特色之一。他結合了繪圖和漫畫的風格，採用

matter through a combined style of graphic arts and comics. At the

同一色調的漸層色，及區隔均勻飽和色彩的輪廓分明線條，以此兩種

same time this attribute greatly appeals and fuels our imagination

鮮活顏色為畫中主題注入生命力與活力，此一特色同時可激發觀者的

through a fusion of our own nostalgic memories and subjective

想像力，將個人的懷舊回憶與自身感知的世界合而為一。從松浦的動

senses of one’s perceived world.

漫人物表情中，可以看出他試圖呈現具有象徵意義的作品，結合其日 常生活與數位世界的虛擬現實，因為畫作中描繪的人物皆為與松浦有

The emotions expressed in Matsuura's animatic images alludes

私交的真實人物，讓觀者對其筆下的人物能感同身受，並自然產生連

to his aim of establishing a symbolic representations of both his

結。因此，松浦作品中描繪的主角並不只是源自畫家的虛構想像，更

daily realities and the virtual realities in the digital world, as the

是真實人物的生動寫照。而其表現手法更與1960年代的普普藝術大相

characters depicted on his canvases are actual personalities of

逕庭：松浦的畫作並不僅是體現了動漫風格，亦提升至卡通、動畫、

those whom he had acquaintance on a personal level, allowing its

漫畫及當代藝術共冶一爐的境界。此一創作理念暗示著，該藝術家相

audiences to relate and connect with the characters in his works

信數位時代的虛構人物開始與我們擁有相同的生命──他們擁有「壓

with great ease. Hence, the characters are not merely figments

克力畫板上的顏料皮膚」及自身靈魂，存在本身則跨越年齡與性別的

of his own imagination, but soulful depiction derived from real

界線。松浦作品中的人物會隨著數位社會的發展而與時俱進，成為全

people. His approach is therefore very different from the Pop Art

球文化的一部份。松浦浩之的作品展現了真實世界與虛擬場景的對

of the 1960s; his paintings are not merely part of the animatic

比。在其畫作上，象徵新世紀數碼世代和動漫風格的鮮艷的色彩，構

trend, but works of art that transpires into the realms of cartoons,

成了形形色色的視覺造型，成為當代美學潮流的元素。與此同時，作

animation, comics and contemporary art. This ideology allude

品隱含了對數位化的感懷：在全球化下，數碼世界將完全融入我們的

to the artist's believes that these characters in the digital age

生活。這些寓意深遠且帶有幽默感的視覺元素遍及現今亞洲流行文化

are starting to have lives equivalent of ours, with "acrylic skin

之中，令人目眩神迷。

106

HIROYUKI MATSUURA (Japanese, b. 1964)

End of Forest 2007 Acrylic on canvas 92 x 92 cm Signed on the reverse Hiroyuki Matsuura and dated 2007.4.16 PROVENANCE: Canvas International Art, Amsterdam Acquired from the above by the present owner

HK$ 100,000 - HK$ 150,000 NT$ 420,000 - NT$ 630,000 US$ 12,900 - US$ 19,300

松浦浩之 森林的盡頭 2007 壓克力 畫布 92 x 92 cm 簽名畫背：Hiroyuki Matsuura 2007.4.16 來源： 畫布國際藝術畫廊，阿姆斯特丹 現有收藏者得自上述來源

Ravenel 203

107

HUNG TUNGLU

(Taiwanese, b. 1968)

Svara-1 2004 3D Photo, 3D Grid, Light Box, edition no. 7/8 178 (L) x 138 (W) x 20 (H) cm EXHIBITED: Hung Tung Lu's Solo Exhibition , Art Seasons, Beijing, August 6 – September 4, 2006 Hung Tung Lu's Solo Exhibition , Art Seasons, Singapore, October, 2006 Hung Tunglu, Huang Zhiyang Art Exhibition , Times Square 2F, Hong Kong, March 27 – June 10, 2008

HK$ 100,000 - HK$ 150,000 NT$ 420,000 - NT$ 630,000 US$ 12,900 - US$ 19,300

洪東祿 水晶宮 自在–1 2004 雷射輸出 光柵片 燈箱 版數7/8 178（長）x 138（寬）x 20（高）cm 展覽： 「洪東祿個展」，季節畫廊，北京，展期自2006年8 月6日至 2006年9月4日 「洪東祿個展」，季節畫廊，新加坡，2006年10月 「洪東祿、黃致陽藝術展」，時代廣場2F，香港，展 期自2008年3月27日至6月10日

As an artist who grew up in the 1990s after the lifting of

to compare and superimpose images in his incorporation of

martial law, Hung Tung-lu utilizes photography as one of

photography with contemporary art, resulting in much more

the most important mediums with which he demonstrates

multi-faceted perspectives of observation than other forms

artistic thought. Unlike other contemporary artists of his era,

of contemporary image art currently practiced in Taiwan.

in terms of spiritual conceptualization, Hung incontestably

Through his creative process, Hung attempts to identity the

rejects the pervasive attitude of "cynical nihilism" adopted

transformative role that images play within the realm of visual

by so many of his peers. The many theoretical problems

art, and persists in his search of a new direction of thought

derived from his artworks must be duly noted by observers

for Taiwan’s image art amidst the all the emerging cognitive

of the contemporary art scene. Hung sees the hypocrisy of

theories and new aesthetics of this obscure digital era

Taiwanese society, therefore chooses to focus his attention on the younger generations. He explores how youths, in a society

洪東祿屬於成長於1990年代的後解嚴世代藝術家。以其攝影作為

of excessive fetishization and consumption, seek corporeal and

他表現藝術的重要媒介。與其他同時代藝術家比，洪東祿極不同的

sensual stimulation through the pursuit of trends, new media

是在創作上的精神面向，明顯不採取那種「輕笑背離」的虛無主義

and substances in order to obtain temporary psychological

態度。其創作引伸出許多理論問題，是當前藝術觀察者所不能忽略

satisfaction and spiritual fulfillment.

的，看到了台灣社會虛假偽善的一面，洪東祿則選擇將其視覺凝 視，聚焦在新世代人類的身上，並觀察他們如何在拜物為神的消費

This lot features a doll seated upon a water droplet shaped

社會當中，透過追逐流行、新傳媒、以及藥物等等行為模式，來刺

like a lotus, the symbol of rebirth and renewal. The image

激他們的身體感官，以獲得心靈與精神上的短暫慰藉和滿足。

shows a new virtual idol emerging from classic settings and celestial light in its mockery of the fetishizing, psychedelic

本次拍品即是以一個寓意重生在蓮花之上水滴之中的娃娃為主角，

trance of the younger generation. Hung often claims to be

呈現古典場景與宗教聖光前的虛擬新偶像，諷刺新世代拜物與迷幻

part of this younger generation, and in comparison with older

出神的狀態。洪東祿經常自許為新新人類，與長期成長並生活於戒

artists who reached adulthood under the influence of Martial

嚴體制時期的較年長藝術家相較之下，其觀察年輕世代的消費行為

Law, Hung is especially adept at observing the consumerism

及享樂價值觀，為當代文化現象發聲。作品展現從誕生到重生，傳

and the pursuit of pleasure of the youth, and giving voice to

統的中國娃娃在冰冷的電子樂音和人工色彩的空間裡，恍惚迷離的

these contemporary cultural phenomena. In this work, the

情境引人進入蓮花涅槃的幻象中。藝術家從攝影技術與當代藝術的

process from birth to rebirth is accompanied by frigid electronic

歷史結合、運用新電子手段使圖象之對照整理，較台灣當代影像藝

music and artificial colors as the traditional Chinese figurine

術的觀察多方面切入，期望找出影像在視覺藝術中角色轉變的輪

is enveloped in a state of trance symbolized by the lotus

廓，並嘗試在面貌不清的數碼時代新視覺認知論、新美學觀的理論

imagery of nirvana. The artist employs new digital techniques

中，尋找台灣影像藝術的新思維。

Ravenel 205

108

HUNG TUNGLU

(Taiwanese, b. 1968)

Here Comes The Dragon 2000 3D Photo, 3D Grid, Light Box, edition no. 3/8 178 (L) x 138 (W) x 19.5 (H) cm Signed on the reverse Hung Tung Lu in English, titled Here Comes the Dragon , inscribed 3D Photo / 3D Grid / light box with edition no. 3/8, dated 2000 EXHIBITED: Hung Tung Lu's Solo Exhibition , Art Seasons, Beijing, August 6 – September 4, 2006 Hung Tung Lu's Solo Exhibition , Art Seasons, Singapore, October, 2006

HK$ 120,000 - HK$ 180,000 NT$ 504,000 - NT$ 756,000 US$ 15,500 - US$ 23,200

洪東祿 龍來了 2000 雷射輸出 光柵片 燈箱 版數3/8 178（長）x 138（寬）x 19.5（高）cm 簽名題識畫背：Here Comes the Dragon 3D Photo / 3D Grid/ light box 3/8 2000 Hung Tung Lu 展覽： 「洪東祿個展」，季節畫廊，北京，展期自 2006年8月6日至 2006年9月4日 「洪東祿個展」，季節畫廊，新加坡，2006年 10月

Hung Tung-lu is a Taiwanese avant-garde artist with an

the formation of a new media, is referred to as "virtual

international perspective. After studying successively at

reality." What’s even more utterly amazing and surprising

Department of Fine Arts, Chinese Culture University and

is that this new form of media art has recently become

Graduate Institute of Plastic Arts, National Tainan College

an incubator for new gods and new icons that offering

of Art, Hung now lives in Shanghai in his pursuit of an

psychological and spiritual consolation to many of the

artistic career. He has participated in many international

modern population. Virtual reality has indeed become a

contemporary art exhibitions, such as the 48th Venice

veritable "religion."

Biennial in 1999, 31es Recontres internationales de la Photographie, Arles in 2000, Taipei Biennial in 2000,

洪東祿為台灣具有國際視野的前衛藝術家之一，先後就讀於中

Arco in 2001 and Shanghai Biennial in 2004. One of the

國文化大學美術系、國立台南藝術學院造型藝術研究所，目前

younger generations of Taiwanese artists, Hung employs

長期旅居上海創作及生活。他的作品多次參加國際當代藝術大

images of fictional characters from computer games,

展，如1999年第48屆威尼斯雙年展、2000年法國阿爾國際攝

such as Sailor Moon, Chun Li and Evangelion, as well

影節、2000年台北雙年展、2001年西班牙拱之大展、2004上

as cartoon characters most people were familiar with in

海雙年展等。在台灣年輕一代藝術家中，洪東祿運用電子遊戲

their childhood, such as Ultraman and Mazinger Z. He

中虛構的角色如美少女戰士、春麗、新世紀福音戰士等圖像及

transports them onto magnificently fantastic historical

一代童年過程中所熟悉的卡通人物如奧特曼、無敵鐵金剛，將

contexts, so that toy figurines from the modern system

他們放在華麗炫惑的歷史場景中，消費體系的玩偶代替了宗教

of consumption come to usurp the position of religious

聖像的位置。儘管他的藝術訓練主要完成於1990年代前期，

deities. Although Hung completed his primary artistic

然而，他個人的創作卻仍然選擇與體制息息相關的歷史與政治

training in early 1990s, he still prefers to mock historical

符號，以之作為他撩撥的對象。

and political symbols highly relevant to the contemporary system as his means of artistic intervention.

隨著電腦與網際網路的發展，影像虛擬科技的進步更是一日 千里。此一虛擬技術結合藝術的手法，形成了「虛擬實境」

Continuous developments in computer and Internet

（virtual reality）的新表現傳媒。令人驚異與稱奇的是，這種

technology have enabled the technology of virtual

「虛擬實境」的新傳媒藝術，晚近甚至更成為新神祇與新聖像

imaging to advance by leaps and bounds. This virtual

的蘊生之所，並且，為當代許許多多人提供了心理與精神的慰

technology, which incorporates artistic techniques in

藉──真可說是不折不扣的新宗教。

Ravenel 207

109

XIONG YU

(Chinese, b. 1975)

Untitled 2007 Oil on canvas 100 x 80 cm Signed lower right Xiong Yu in Chinese and dated 2007 PROVENANCE: China Blue Gallery, Beijing Private collection, USA

HK$ 60,000 - HK$ 90,000 NT$ 252,000 - NT$ 378,000 US$ 7,700 - US$ 11,600

熊宇 無題 2007 油彩 畫布 100 x 80 cm 簽名右下：熊宇2007 來源： 環碧堂，北京 私人收藏，美國

110

MAYUKA YAMAMOTO (Japanese, b. 1969)

Pink Lamb 2008 Oil on canvas 194 x 162 cm Signed on the reverse Mayuka , titled Pink Lamb in English and dated 2008 PROVENANCE: Tsubaki Gallery, Tokyo Canvas International Art, Amsterdam Acquired from the above by the present owner EXHIBITED: Instinctively- Mayuka Yamakoto , Canvas International Art, Amsterdam, November 28 – December 24, 2009

HK$ 120,000 - HK$ 180,000 NT$ 504,000 - NT$ 756,000 US$ 15,500 - US$ 23,200

山本麻友香 粉紅羔羊 2008 油彩 畫布 194 x 162 cm 簽名題識畫背：Pink Lamb Mayuka 2008 來源： 樁畫廊，東京 畫布國際藝術畫廊，阿姆斯特丹 現有收藏者得自上述來源 展覽： 「直覺地－山本麻友香作品展」，畫布國際藝術畫 廊，阿姆斯特丹，展期自2009年11月28日至12月 24日

Ravenel 209

111

HSU TANG-WEI

(Taiwanese, b. 1980)

Space 3 2009 Acrylic on canvas 116.5 x 91 cm Signed on the reverse HSU TANG-WEI in Chinese and English, dated 2009 EXHIBITED: Art Fair Tokyo , Tokyo Building TOKIA Galleria, Tokyo, April 2-5, 2009

HK$ 42,000 - HK$ 60,000 NT$ 176,000 - NT$ 252,000 US$ 5,400 - US$ 7,700

許唐瑋 空間中的局部 3 2009 壓克力 畫布 116.5 x 91 cm 簽名畫背：許唐瑋 HSU TANG-WEI 2009 展覽： 「東京藝術博覽會」，Tokia 東京大樓， 東京，展期自2009年4月2日至4月5日

112

YAYOI DEKI

(Japanese, b. 1977)

Francesco Molinaro ; Untitled (A set of two) 2000 ; 2008 Acrylic on panel 36.5 x 25.5 cm ; 32 x 40 cm Signed on the bottom Deki Yayoi in Japanese and dated 2000 Signed on the left side Yayoi in English, titled Francesco Molinaro and dated 2000 Signed lower right in English and dated Yayoi 08 Signed on the reverse Yayoi Deki in English and dated 2008

HK$ 110,000 - HK$ 170,000 NT$ 462,000 - NT$ 714,000 US$ 14,200 - US$ 21,900

出來彌生 法蘭切斯科．莫里拉尼；無題（兩件一組） 2000 ; 2008 壓克力 木板 36.5 x 25.5 cm ; 32 x 40 cm 簽名下方：できやよい2000 簽名題識左側：Francesco Molinaro ♥ Yayoi 2000 簽名右下：Yayoi 08 簽名畫背：Yayoi Deki 2008

Ravenel 211

113

POREN HUANG

(Taiwanese, b. 1970)

Everyday is a New Start

黃柏仁

2007 Bronze with gold foil, edition no. 27/30 38 (L) x 23 (W) x 30 (H) cm

每一天

Engraved on the back of the right leg PR and dated 2007 , initialed PR and numbered 30-27 on the base EXHIBITED: The Artistic Conversation of "Love Dogs, Adore Dogs" , Powen Gallery, Taipei, May 15 – June 12, 2015 The Dog's Note – Poren Huang Solo Exhibition , Williamsburg Art & Historical Center, New York, November 7 – December 6, 2015 The Dog's Note – Poren Huang Solo Exhibition , aquabitArt Gallery, Berlin, February 2 – 28, 2016 ILLUSTRATED: The Dog's Notes , Powen Gallery Co., Ltd., Taipei, 2014, color illustrated, p. 14 & pp, 74-79 Return To Innocence – The Dog's Note by Poren Huang , Artco Magazine, Taipei, January 2015, issue no. 268, color illustrated, p. 84 This sculpture is to be sold with a certificate of authenticity issued by Powen Gallery, Taipei and signed by the artist.

HK$ 65,000 - HK$ 100,000 NT$ 273,000 - NT$ 420,000 US$ 8,400 - US$ 12,900

2007 銅雕 金箔 版次 27/30 38（長）x 23（寬）x 30（高）cm 簽名雕刻右後方：2007 PR 簽名雕刻底部：30–27. PR 展覽： 「愛狗，敬狗的對話藝術」 – 狗札記 黃柏仁個展， 紅野畫廊，台北，展期自2015年5月15日至6月12日 「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 「狗札記：黃柏仁雕塑個展」，aquabitArt畫廊，柏 林，展期自2016年2月4日至2月28日 圖錄： 《狗札記 – 黃柏仁》，紅野畫廊，台北，2014，彩 色圖版，頁14與頁74-79 《反璞歸真 – 黃柏仁的狗札記》，典藏今藝術，台 北，2015年1月號, 第268期，頁84 附紅野畫廊開立及藝術家親筆簽名之原作保證書

TRANSACTION RULES FOR ART (HONG KONG)

The following provisions are entered into by and between Ravenel Auction Hong Kong Limited, , as the auctioneer (hereinafter referred to as “the Company”) and the Seller (hereinafter referred to as the “Seller”). This Agreement is also entered into by and between the Company as the agent of the Seller and the Buyer (hereinafter referred to as the “Buyer”). The Prospective Buyer, the Buyer and the Seller must carefully review and completely agree all provisions hereunder and any revisions from time to time. The Buyer should pay special attention to Article 2, Section 5which provides limitations as to the legal responsibilities of the Company.

Article 1.Definition Some of the phrases commonly seen herein are defined as follows: 1. “The Buyer” shall mean highest bidder accepted by the Company.

2. “The Prospective Buyer” shall mean any potential bidder willing to attend the auction sale hosted by the Company.

3. “The Seller” shall mean the mandator who provides the Lot and agrees to appoint the Company as its exclusive agent to sell the Lot at the Auction and participate, and cooperate, in exhibitions prior to the Auction if so required by the Company.

4. “The Lot” shall mean the item delivered to the Company to be sold in an auction, especially the single or multiple pieces of items numbered in the catalogue.

5. “Hammer price” shall mean the highest bid with respect to one particular auction item accepted by the auctioning party.

6. “The Buyer’s Premium paid by the Buyer” shall mean the fee based on a certain percentage of the Hammer price paid by the Buyer; the percentage shall be as prescribed in Article 2, Section 4a.

7. “The Reserve Price” shall mean the lowest price agreed by the Company and Seller. The Lot cannot be sold at a price lower than such price.

8. “Counterfeit” shall mean the Lot constitutes imitation and the original concept of the imitation and its overall execution result in fraud to cause deception in connection with the author, history, year, age, culture or origin of the Lot, for which the accurate description is not reflected in the catalogue and the value of the Lot on the auction day is far less than the value it should have according to the description in the catalogue. Therefore, no auction item will become a counterfeit as a result of any damage and/or any repairing in any manner (including repaints).

9. "Insured amount" shall mean the value of the insurance purchased for the Lot which the Company considers necessary under its absolute power from time to time (regardless whether such insurance is purchased by the Company).

Article 2.The Buyer 1. The Company as the Agent The Company, as the auctioning party, shall act as the agent of the Seller. Except otherwise provided, items successfully sold in the auction held by the Company shall be bound by the agreement made by and between the Seller, through the agency of the Company, and the Buyer.

2.Prior to the Auction a. Authentication We strongly recommend that the prospective buyers conduct their own authentication for the items they are interested in bidding prior to the auction. We provide no guarantees to the buyer including but without limitations whether the Lot is a counterfeit or the authentication of the Lot’s certificates (with the exception of the guarantee with regard to counterfeits as defined in Article 1 of the Transaction Agreement). b. Important Notice Attention, the Prospective Buyers: As far as possible, the descriptions of auction items will mention obvious defects of the items; however, they do not necessarily include all flaws, defects, or incomplete aspects. The Company does not guarantee that the Lots on auction are in good working condition and the descriptions in the catalogue must not be construed as implying such. The description of the auction items also do not imply that the items have not gone through readjustment or repair or allude anything about the current state or storage conditions of the items. Any omission in the catalogue description regarding the current condition or the appraisal of defects in the items by no means represent that those items are in good condition, function normally, or that there will be any free repair or replacement of parts. We strongly recommend the Prospective Buyers to personally view the items for which they plan to bid before the auction itself. If a Prospective Buyer is unable to view an item for whatever reason, then in our role as a service provider, we would be more than happy to offer our opinion of an item’s special characteristics and current condition. However, the Company is not a professional restorer of the Lots; therefore, any description in the catalogue or any statement provided by the Company is purely the Company’s subjective opinion and not a statement of fact, not for representations or warranties.

The Prospective Buyer completely understands and acknowledges that all of the items on auction are being sold in “as is” condition.The Company does not provide any representation or guarantee as to the conditions of any of the items. Unless otherwise stated in laws of Hong Kong, the Company does not provide any warranty with the items. c. Symbol Key The following key explains the symbol you may see inside this catalogue.  Premium Lot In order to bid on “Premium Lots” the Buyer must complete the required pre-registration application and deliver to The Company such necessary financial references, guarantees, deposits and / or such other security as The Company’s may in its absolute discretion require for your bid. The Companydecision whether to accept any pre-registration application shall be final. We recommend you complete and return the Lot pre-registration form in this catalogue in the manner required therein or contact the Company at least 5 working days prior to the relevant sale in order to process the pre-registration. Please bear in mind that we are unable to obtain financial references over weekends or public holidays. The Company will provide a special paddle number for the register of “Premium Lot”. ○ Guaranteed Property The Seller of the Lots with this symbol next to the Lot number has been guaranteed a minimum price from one auction or a series of auctions. This guarantee may be provided by the Company, by a third party or jointly by the Company and a third party. A guarantee may be in the form of an irrevocable bid provided by a third party. Third parties providing or participating in a guarantee may benefit financially if a guaranteed Lot is sold successfully and may incur a loss if the sale is not successful. If third parties providing or participating in a guarantee is the successful bidder for the guaranteed Lot, they should be required to pay the full Buyer’s Premium.

213

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.

214

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.

215

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。

216

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。

217

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。

218

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 SPRING AUCTION 2016 HONG KONG Modern & Contemporary Art Sunday, 29 May 2016, 11:00 am HA1601 Grand Hyatt Hong Kong - Ballroom 1 Harbour Road, Wanchai, Hong Kong

Bidder’s Details Name ID number Address Post code Tel Mobile Fax Email Signature (We must have your signature to execute this bid.)

It is requested hereby that Ravenel tenders the bid on my behalf for the following auction items within the bidding range described hereunder.

I understand that Ravenel provides such bid services for the convenience of customers and Ravenel shall not be held liable for any failure to execute a bid. If Ravenel receives more than one commission of the same bid price with regard to a particular auction item, priority will be given to the person whose bid is first received.

I understand that if my bid is successful, I shall pay the final hammer price together with the Buyer’s Premium and any applicable sales tax. The Buyer’s Premium shall be calculated as 20% of the final hammer price (not applicable to wines). For detail please refer to Articles 4a, c and d of the Transaction Rules to the Buyer. (4a. The Buyer’s Premium of Each Lot Payable by the Buyer: (1) The Buyer should pay the hammer price and, in addition, the Buyer’s Premium to the Company. For hammer price below HK$ 8,000,000 (inclusive), the Buyer’s Premium should be calculated at 20% of the hammer price.

(2) For hammer price higher than HK$ 8,000,000, total amount of the Buyer’s Premium should be that the first HK$ 8,000,000 of the hammer price should be calculated at 20% and the rest of the amount of the hammer price should be calculated at 12%.)

The bid shall be subject to the Transaction Rules prescribed in the catalogue. Please note especially the limited guarantee and exclusive warrantees that may be provided for certain items.

PLEASE PRINT LEGIBLY Auction item number (in numerical order)

Title

Bid price (HK$) (excluding buyer’s premium)

Interested buyers should provide Ravenel with their current bank and/or other relevant material to ensure all bids will be accepted and the delivery of the auction item will not be delayed, and authorize us to verity the provided informations with the bank. Kindly provide this information for processing in advance of the auction date.

Bank Reference Approval Name of the bank Address of the bank

Name of the account Account number Contact of the bank Tel. No.

Ravenel Auction Hong Kong Limited Room 1307A, 13/F, 39 Healthy Street East, North Point, Hong Kong Tel: +852 2889 0859 Fax: +852 2889 0850 ravenel.com

219

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 2016 春季拍賣會 現代與當代藝術 拍 賣 編 號：HA1601 香港拍賣日期：2016 年 5 月 29 日（星期日） 上午 11:00 香港君悅酒店（宴會大禮堂）香港灣仔港灣道 1 號

投標者資料 客戶編號 （如有） 姓名 身份證號碼 地址 郵碼 電話 傳真 簽名

行動電話 電郵

（本公司在取得閣下之簽名後方才接受競標）

茲請求羅芙奧就下列拍賣品於下列競投價範圍內投標。 本人亦明白，羅芙奧為方便顧客而提供代為投標的服務，羅芙奧不因怠於投標而負任何責任。倘羅芙奧就同一項拍賣品收到相同競價之委託，以 最先收到者優先辦理。 本人知悉如投標成功，本人應付之購買價款為最後之落槌價加上買家佣金（連同該最後落槌價及買家佣金之營業稅）買家佣金依最後落槌價乘以 佣金費率得之。詳見業務原則規定第4條a,c,d之規定。（4a.買家支付每件拍品之買家佣金費率：（1）買家除支付落槌價外，另須支付買家佣金予 本公司，落槌價於港幣捌佰萬元以下者（含捌佰萬元）以20％計算；（2）落槌價於港幣捌佰萬元以上者，採分二級計價，其中港幣捌佰萬元以 20％計算，超過港幣捌佰萬元之部份以12％計算；加總計算佣金金額。） 本競投，本人同意並遵守本目錄所載所有業務規則（特別是有限保證、不負其他瑕疵擔保等規定）。

請用正楷填寫清楚 拍賣品編號 （按數字順序）

名

競投價（港元） （買家佣金不計在內）

稱

為確保所有投標均得以接受及拍賣品之送交不延誤，有意買家應向羅芙奧提供往來銀行或其他適當之參考資料，並予以授權羅芙奧得向銀行查 證。該等資料應及時提供，以便在拍賣前著手處理。

銀行證明 銀行名稱 銀行地址 羅芙奧香港拍賣有限公司 香港北角健康東街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

220

INDEX O

A PAUL AÏZPIRI

保羅．艾斯比利

086

安德烈．布拉吉利

091

B ANDRÉ BRASILIER

C BERNARD CATHELIN

貝爾納．卡多蘭

MARC CHAGALL

馬克．夏卡爾

CHANG CHIH-CHENG

張志成

040, 041

CHEN CHENGWEI

陳承衛

010, 011

CHEN YIFEI

陳逸飛

074

CHENG TSAI-TUNG

鄭在東

038

CHIU YA-TSAI

邱亞才

022. 023

CHU TEH-CHUN

朱德群

025, 026, 029

087, 095 088

D YAYOI DEKI

出來彌生

112

DING YAN-YONG

丁衍庸

048

RAOUL DUFY

胡奧．杜菲

093

GAO HUIJUN

高惠君

058

GÉRARD GAROUSTE

傑哈．賈胡斯特

082

GU WENDA

谷文達

GUO RUI

郭銳

G

060, 061, 063, 070 037

H

OUYANG CHUN

歐陽春

079

P PANG JIUN

龎均

PARK SEO-BO

朴栖甫

015

QI ZHILONG

祁志龍

076

QIU ZHIJIE

邱志傑

066

喬琪亞．盧瑟爾

085

SAN YU

常玉

001

SHA QI

沙耆

039

SHEN HANWU

沈漢武

057

SHI XINNING

石心寧

069

SUPAKITCH

市霸奇奇

096

AYA TAKANO

高野綾

105

T'ANG HAYWEN

曾海文

003

TANG ZHIGANG

唐志剛

068

ANTONI TÀPIES

安東尼．塔皮埃斯

090

WALASSE TING

丁雄泉

PIERRE-YVES TRÉMOIS

皮耶–伊夫．特墨

019, 020, 031, 032

Q

R GEORGIA RUSSELL

S

T

024, 044, 045, 046, 047 083, 084

HE BAILI

何百里

055

屠宏濤

064

HSIA YIFU

夏一夫

TU HONGTAO

050

董心如

002

HSIAO CHIN

蕭勤

TUNG HSIN RU

016

HSU TANG-WEI

許唐瑋

111

POREN HUANG

黃柏仁

113

莫里斯．德．烏拉克曼

092

HUNG TUNGLU

洪東祿

107, 108

HWANG HYUN SEUNG

黃炫升

104

WANG GUANGYI

王廣義

067

HWANG JYI

黃楫

018

WANG JIQIAN

王季遷

053

WANG JINSONG

王勁松

062

WANG KEPING

王克平

033

WANG LAN

王藍

049

NANO WARSONO

納諾．瓦索諾

100

WU JITAO

吳繼濤

009

XIA JUNNA

夏俊娜

006, 007

XIONG YU

熊宇

109

AI YAMAGUCHI

山口藍

103

MAYUKA YAMAMOTO

山本麻友香

110

YAN LEI

顏磊

078

CHIHUNG YANG

楊識宏

017

YANG SAN-LANG

楊三郎

012

YU CHENG-YAO

余承堯

051, 052

YU PENG

于彭

042, 043

YUE MINJUN

岳敏君

071, 073

ZENG CHUANXING

曾傳興

075

ZHANG DALI

張大力

081

ZHANG LUJIANG

張路江

056

ZHAO GANG

趙剛

077

ZHOU CHUNYA

周春芽

072

J JIN WEIHONG

靳衛紅

034

JU MING

朱銘

021

KAMATANI TETSUTARO

鎌谷徹太郎

102

KAWS

布萊恩．唐納利

YAYOI KUSAMA

草間彌生

013, 014

TORU KUWAKUBO

桑久保徹

101

LAM TIANXING

林天行

036

LAMPO LEONG

梁藍波

035

LI CHEN

李真

030

LI JISEN

李繼森

080

LI SHAN

李山

065

LI ZEHAO

李澤浩

008

LIN TIANLU

林天祿

059

LIN WEN-CHIANG

林文強

054

LIU HAISU

劉海粟

027, 028

LV YANXIANG

呂延翔

004, 005

K 097, 098, 099

L

M ANDRÉ MASSON

安德烈．馬松

HIROYUKI MATSUURA

松浦浩之

089, 094 106

221

V MAURICE DE VLAMINCK

W

X

Y

Z

220

221